Metasonix R-55 Thyratron

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via this auction

"The R-55 is essentially one of the VCOs in the legendary S-1000 Wretch Machine in a 22U Eurorack module. It produces the notorious “sharkfin” sawtooth waveform of thyratron VCOs, replete with the weird pitch variations and apparent “noisiness” of a thyratron oscillator. Turn up the overdrive control, and the oscillator output clips the output amplifier pentode tube, for a unique soft-clipped square-wave sound. The simplicity of the R-55 will fool you--its behavior is erratic and weird, it always sounds “broken”, and the waveform is “deviated” in every way. You don't even need to feed it Hz/v CV: just run a square-wave or pulse signal from a conventional VCO into a pitch CV input, and it will “force” the R-55 to track along with the other VCO. CV response: Hz/v, giving about 1.5 octaves of usable range with a Kenton Pro-Solo MIDI/CV. Span and offset trimpots on front panel, adjustable to make the R-55 track roughly along with the Metasonix R-54 Supermodule, or with other Hz/v VCOs. Maximum pitch range, 60 Hz to more than 3 kHz (approximate), range with CV typ. 2.5 octaves maximum. Octave switch raises pitch range about 2 octaves..."

ARP Odyssey MK3 Vintage Analog Synthesizer

via this auction
"Model 2823 Black and orange low serial number (28230219)... Additional accessories include original ARP foot switch, and original ARP/Dunlop expression pedal with cord. Both pedals are in very good condition and fully functional. Also included are ARP Odyssey manual, ARP Odyssey patch book, and ARP Odyssey service manual. Bonus items are NEW XL ARP Odyssey t-shirt and black and orange ARP Odyssey case sticker.

Specifications

NOISE GENERATOR
Noise spectrum types: white and pink

TRANSPOSE
Positions: Down 2 octaves, normal, up 2 octaves

PPC
Proportional pitch control Frequency shift: About 5 semitones + 1 semitone

PORTAMENTO
Maximum speed: About .01 msec./oct. Minimum speed: About 1.5 seconds/oct.

VOLAGE CONTROLLED OSCILLATORS
Waveforms: Sawtooth, Square, Pulse, Dynamic Pulse. Frequency range: VCO 1 in low freq. mode, .2 Hz. to 20 Hz; VCO 1 and VCO 2 (audio range) 20 Hz to 20 KHZ. Warm up drift: 1/30 semitone from turn on max. Pulse width: 50% to 5%. Pulse with modulation: ADSR, +45%: LFO, +15%. Voltage controlled response: 1V/oct. Miximum frequency shifts: LFO sine wave, +1/2 oct.; LFO square wave, +1.5 oct.; ADSR +9 oct.; S/H +2 oct. Note: VCO 1 is low note priority; VCO 2 is high note priority.

VOLTAGE CONTROLLED FILTER
Type: Low pass. Frequency range: 16 Hz. to 16 KHz. Maximum usable Q: 30. Resonance 1/2 to self oscillate. Volage controlled response: 1V/oct.

VOLTAGE CONTROLLED AMPLIFIER
Dynamic Range: 80dB.

RING MODULATOR
Type: Digital. Input signals: VCO1 and VCO2 square waves.

SAMPLE AND HOLD
Command sources: Keyboard or LFO trigger. Sampled signals: VCO 1 square wave and sawtooth wave, VCO 2 square wave and pink noise.

ADSR ENVELOPE GENERATOR
Attack time: 5 msec. to 5 seconds. Decay time: 10 msec. to 8 seconds. Sustain level: 0 to 100% of peak. Release time: 15 mesec. to sec.

AR ENVELOPE GENERATOR
Attack time: 5 msec. to 5 seconds. Release time: 10 msec. to 8 seconds.

AUDIO OUTPUTS
High Level: XCR 2.5 V PP max.; 100K impedance. Low Level: .25 V PP max.; 10K impedance.

INTERFACE JACKS
Keyboard CV IN/OUT: 1 V/oct. Gate OUT: +10 V, Key down; O V all keys up. Gate IN: +8 V minimum. Trigger OUT: +10 V pulse on key depression, 10 microsec, duration. Trigger IN: +8 V pulse min., 10 microsec duration minimum. External Audio Input: 500 millivolts for full output."

Yamaha CS 15 SN 7351 w/ Original Manual

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via this auction

"Massively fun and tweakable synth so many live switching and routing options it demands to be played... This synth is a classic... a lesser known classic... the closest thing i can compare it to is the MS20 but it is a very different beast than the MS (it doesn't squeal) in the right hands its a beast... Duophonic it has CV and GATE (Hz/v s-trig) for each oscillator... then you get 2 of everything with interesting rerouting options... external in... opens up more possible fun... I lost hours testing this thing... its hard not to get something intersting out of this thing! Please note this is Hz/v s-trig CV control... I tested it with an Arturia beatstep pro (arturia is good for Hz/v) Tested CV and GATE ins and both working fine and seperately together!!! 2 lines 2 filters 2 envelopes I perfer to use just gate triggers and play the keyboard live because the live controls are a breeze!"

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Vince Clarke Enters the Eurorack Market with New Line of MIDI to CV Utility Modules

Vince Clarke Circuits - The VCM & VCS Auto Tune System from erasureinfo on Vimeo.

In collaboration with Analogue Solutions.

"This self contained Eurorack expandable Midi to CV converter/calibration system offers an uncomplicated solution to the problems of tuning and scaling both vintage synthesisers and modern VCO Eurorack modules. With 16 bit voltage resolution and a tune time of 10 seconds. The unit can compensate for VCO alignment issues and environmental factors that cause tuning drift with the push of a button. Its Digital Automatic Audio Gain Control Circuitry (DAGCC) enables the unit to be connected to most synthesiser outputs, and has been tested on a large array of makes and models. While obviously not being capable of fixing the problems of faulty circuitry it will however save time and money on re–calibration, and ensure the technical side of synth ownership doesn't impinge on the creative process.

MORE DETAILS:
http://www.vinceclarkemusic.com/circuits/"

And the press release:

"Vince Clarke keeps tuneful tracks tuned with namesake clever CV/Gate tuning system

BROOKLYN, NY, USA: synth-pop Svengali Vince Clarke is proud to announce that he will be releasing a series of creative and utilitarian modules for the ever-present Eurorack small-format modular system under the namesake Clarke company name, designed and built to exacting standards in close collaboration with British ‘boutique’ analogue synthesiser and accessory designer/manufacturer Analogue Solutions, starting with the now-available Auto Tune — a self-contained, expandable Eurorack-compatible MIDI-to-CV converter/calibration system offering an uncomplicated solution to the problems of tuning and scaling both vintage analogue synthesisers and modern Eurorack VCO (Voltage Controlled Oscillator) modules — as of March 18...

So why simultaneously sidestep into this creative and utilitarian synthesiser module manufacturing (ad)venture alongside superlative synth-pop music compositional creativity? Who better qualified to address this than the Ivor Novello Award-winning songwriter himself... hardly surprising, really, since Vince Clarke can, of course, comfortably find his way around a notable number of synthesisers, too, as attested to by the well-earned songwriting success-funded collection of analogue classics currently residing at his NYC studio, relatively recently relocated from a custom-built cabin in rural Maine to inner-city Brooklyn. But this is no millionaire’s museum piece, but rather a unique personal workspace, where each and every awe-inspiring analogue instrument included in his sizeable collection of vintage and modern synthesisers comfortably housed within regularly earns its keep on a variety of musical projects, be they synth-pop based or otherwise. “For those of you who work with synthesisers using CV and Gate, you will all be aware of the problems of calibration,” notes Vince Clarke, continuing: “Having tried many a cumbersome software-based package over the years, I wondered if there might be a neater solution — a kind of all-in-one MIDI-to-CV convertor with auto-calibration.”

And, as if by musical magic, the collaborative Clarke company concept was born. And with it the first of those creative and utilitarian modules for the ever-present Eurorack small-format modular system that is increasingly popularised (and heavily populated) by an ever-growing band of merry ‘boutique’ manufacturers now numbering hundreds worldwide... welcome into the world Clarke’s clever Auto Tune system! So, let’s learn a little more about what it is, what it does, and how, exactly, it does it...

In a nutshell, then, the Auto Tune system consists of a VCM20 master module, which can control up to 16 VCS20 slave modules, each of which provides one channel of CV (Control Voltage) and Gate. With 16-bit voltage resolution and a tune time of 10 seconds, this straightforward system can compensate for VCO alignment issues and environmental factors that cause tuning drift quite literally at the push of a button!

The VCM20 master module has an LED (Light Emitting Diode), an increment push button to select the MIDI (Musical Instrument Digital Interface) channel, and MIDI IN and MIDI THRU sockets; the VCS20 slave module has four 3.5mm jack sockets for communicating with the outside analogue synthesiser world, which is where the tuning action really gets going: CV1 connects to the synthesiser’s pitch control voltage and can be set to either V/oct (Volts per octave) or Hz/V (Hertz per Volt); CV2 is mapped to keyboard velocity — typically to control a VCF (Voltage Controlled Filter) or VCA (Voltage Controlled Amplifier); the 11 Volt GATE output can be set to either V-Trig (Voltage Triggers) or S-Trig (Switch Triggers), its use being indicated by the Gate LED; the VCO input connects to the synthesiser’s waveform or audio input and allows the VCS20 slave module to read audio frequencies during the calibration process — a square, sine, or sawtooth waveform without modulation is recommended for doing this. The oscillator output can either be split or an unused waveform connected in the case of modular system setups while with typical hardwired analogue synthesisers it’s a case of splitting the audio output or, in most cases, using the headphone output. Either way, the synthesiser needs to be set to output a single oscillator without filter or modulation with the VCA envelope set to zero attack, zero decay, full sustain, and zero release. For the most accurate calibration of the control voltage the synthesiser’s oscillator range should be set to 8’ or its initial oscillator frequency set midway.

Having correctly connected everything, pressing the VCS20 slave module’s Tune button automatically tunes the analogue synthesiser, compensating for calibration errors between 0.5 and 1.5 V/oct. (During the tuning process, the Gate opens and its associated LED lights up, going out once complete.) Calibration data is duly stored — solving the problem with a neat solution! Still better, the VCS20 slave module retains the calibration data on power down — no need, necessarily, to repeat the process.

Suffice to say, Vince Clarke’s canny vision of an all-in-one MIDI-to-CV convertor with auto-calibration has truly become reality with the Clarke Auto Tune system since it is possible to set the individual MIDI channel for each VCS20 slave module and see which MIDI channel a slave module is set to at any time by simply pressing its Show button. Beauty is in simple things, after all. Equally easy, the VCS20 slave module’s Oct. (octave) button transposes the incoming MIDI signal by one octave with each push, cycling around four octaves — useful if the synthesiser’s range circuit is detuned. Don’t forget, each VCS20 slave module connected can be individually set to work with V/oct or Hz/V synthesisers so a variety of older and newer analogue instruments can be calibrated and automatically tuned by the Clarke Auto Tune system. Start with a VCM20 master module and one VCS20 slave module, maybe? Then simply add more VCS20 slave modules as your analogue instrument collection grows... guaranteed to stay in tune, each and every one of them — just like Vince Clarke’s Brooklyn-based sizeable collection of vintage and modern synthesisers! Synth-pop songwriting success, sadly, cannot be guaranteed.

The Clarke Auto Tune system is priced at £189.00 GBP (plus tax and delivery) for the VCM20 master module and £189.00 GBP (plus tax and delivery) for the VCS20 slave module; all are available to order online from Analogue Solutions here: http://analoguesolutions.com/clarke/

For more detailed information, please visit the Clarke webpage here: http://www.vinceclarkemusic.com/circuits/"

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EURORACK MODULAR SHOCK ELECTRONIX ENSEMBLE

Published on Jul 17, 2015 PLUCKA,S SHED

Synth bird!

"A new eurorack modular from shock electronix featuring the sequencer ,delay and modulator a very easy and fun starter setup
http://shockelectronix.com/shop/"

A list of their first set of products for the archives (these are available as completed or as various DIY kits):

"EsQu-One Step Sequencer

The Shock Electronix Modatron EsQu-One Step Sequencer is our Eurorack conversion of the super compact and highly versatile Korg SQ-1 Step Sequencer.

As standard, the Korg SQ-1 is a compact step sequencer with 2 x 8 steps. It's wealth of connection jacks allows it to be integrated with a Eurorack System, connected to the MS-20, and a variety of other synthesizers.

Vintage analog synths or the latest compact synths can be controlled from this single unit. You can also switch between a variety of synthesizer modes and use the step buttons to create performances overflowing with spontaneity.

As a descendant of the SQ-10, and just like the SQ-1, the EsQu-One supports the Hz/V standard, enabling it to perfectly control the MS-20 or MS-20 mini. It goes without saying the V/Oct standard is also supported, and the voltage level of the CV output (*) and polarity of the GATE output can be specified as appropriate for the device you've connected. This versatility will enable you to control a wide variety of other synthesizers as well.

* V/Oct supported for 1V, 2V, and 5V; Hz/V supported for 8V.

Just like the SQ-1, the EsQu-One provides two CV/GATE OUT channels, the standard MIDI OUT and USB MIDI, littleBits out (to connect to the littleBits synth kit by littleBits Electronics Inc.), plus the SYNC IN/OUT channel that allows you to connect to the volca series and monotribe. In addition to this, we’ve designed the EsQu-One with an added 4 rows of multiples, and easy access to the USB port at the bottom."

"Modatron Delay

The Shock Electronix Modatron Delay is our Eurorack conversion of the extremely popular Korg Monotron Delay.

As standard, the Korg Monotron Delay offers analog-style echoes, an LFO with selectable triangle or square waveshape, the same classic analog filter found in the legendary Korg MS-10 & MS-20, and with newly added controls, there is much more flexibility and functionality than ever before."

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Sixty Four Pixels Noodlebox Desktop Hardware Sequencer

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via this auction

Additional SYNTH CITY Listings

You can find demos of the Noodlebox in previous posts here.

"Tested in great working condition, super fun sequencer! Includes AC power supply.

Noodlebox is a four part sequencer for making electronic music. It has analog CV/Gate outputs for each part and supports MIDI.

There are independent sequencer layers, each with a CV/Gate output. Each layer runs separately to the others (although staying in sync) and has its own step count, clock division etc.

Each layer has four pages of up to 32 steps each. Pages can be used for A/B/C/D type pattern variations, for verse/chorus type song sections or chained to make a single pattern of up to 128 steps. You can cue up lists of pages for automatic cycling (up to 32 pages). Arranging pages is designed to be quick and easy to do creatively in a live setting.

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KORG Officially Introduces the New ARP ODYSSEY and New KRONOS - Details and Live Video From NAMM

Scheduled for Jan 21, 2015 Korg

And the details are in. You'll find the list of full Odyssey specs further below. I wanted to lump the Kronos and Odyssey together with Korg's live video announcement feed from NAMM, as that is how they are/were released to the world. It's interesting that the press release for the Odyssey does not mention or include pics of the white and black & gold Odysseys. You can see pics of them side by side at NAMM here, and the black and gold prototype was pictured here. New pics will follow when they go live.  Until then, enjoy the show! Update: new front view of Odyssey and two new Kronos pics added below.  That's it for the initial press pics.  You can see the white and black & gold Odysseys on stage.

"ARP ODYSSEY; Forty Years Later, A Complete Revival

Long stopped, the wheels of history have again begun to move

Anaheim, CA– January 21, 2015- - In conjunction with Arp Instruments Inc., Korg Inc. has revived the legendary analog synthesizer, the ARP ODYSSEY. Originally produced in 1972, the ODYSSEY quickly garnered a faithful following among musicians. Well respected for its high value, ease to play and portability, the ARP ODYSSEY had undergone several improvements during its history and continued to be a long-seller until manufacturing stopped in 1981 due to economic hardships and the digital surge. Loved by a wide range of musicians as a historical classic, its sound can be heard on numerous classic songs.

Now in 2015, Korg has brought back the ARP ODYSSEY for today while preserving the basic design of the original. The new ODYSSEY has a compact body, highly operable sliders, and a 37 note slim keyboard that's easy to play. In addition, a DRIVE switch (new function) is provided and connectors include MIDI and headphone output as well as Patch cables.

'Together the engineers at Korg and Arp were able to nail the sound and feel of the original. Under the advisory assistance of David Friend, the co-founder of ARP Instruments, every detail was adjusted to replicate the original unit's distinctive synthesis,' shared James Sajeva, Brand Manager for Korg products. 'Every aspect has been carefully considered to stay true to the quality of the original, down to the sophisticated semi-hard case.'

Korg has completely reproduced the original circuitry for artists looking to recreate classic sounds and explore new ones. The ARP ODYSSEY has been downsized to 86% of the original. Carefully selected parts are used in the familiar slider section, providing an operating feel that's even smoother than the original."

"KORG Debuts Most Powerful Synthesizer with the New Kronos

Expanded Piano Engine, Improved Touch Panel Navigation, Improved Set List Mode, Search by Song Title Functionality, Redesigned Exterior

Anaheim, CA– January 22, 2015- - KORG USA debuted the new KRONOS, the most powerful version of its flagship synthesizer to date during Winter NAMM. For the first time enthusiast will be able to hear and see the new Kronos in action with live performances and in depth demonstrations by product experts and engineers.

'The new Kronos features the unrivaled 9-engine structure from previous versions, with numerous improvements to both sound capability and overall functionality. Truly, the most powerful synthesizer on the planet just got more powerful,' said James Sajeva, Brand Manager for Korg products.

'Our SGX piano engine, already revered for its German and Japanese grands, now also includes a 9GB Berlin grand with dedicated una corda (soft pedal) samples, plus sympathetic string resonance that works on all the SGX pianos” he continued. “It’s truly an amazing piano experience. There are new banks of sounds based on famous song titles for our cover players and those looking for ‘that’ sound for their recordings, plus a ‘best of’ bank from KaPro, who has created numerous libraries for the Kronos line.'

Other new features include system-wide Touch/Drag via the Kronos’ huge color TouchView™ screen; allowing the user to edit onscreen parameters faster and more naturally than ever.

An evolved Set List mode provides the capability to resize their custom text per set list entry, and enter text via either an onscreen QWERTY or external USB ASCII keyboard. Entries can also be color-coded for better organization and visibility, and users can even decide how many set list entries appear on the screen at time, allowing for more (and larger) onscreen text to remind you of lyrics, changes, or other notes.

An improved search function helps users to find the perfect sound faster than ever. Other improvements include onscreen metering in Combination and Sequencer modes, along with the ability to edit Programs within a Combination to hear the edits in context with other parts.

The improvements don’t end with the software, either; the new Kronos also boasts a new look, including natural wood side panels, easier-to-read silkscreened text, a sophisticated – and functional – vented back panel, and gold-plated audio I/O jacks."

-------

ARP Odyssey Specifications

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Volta has a blog

http://motu-volta.blogspot.com/

"New Features & Changes 01.23.08
We've added Hz/V scaling support, so you can control the pitch of older Yamaha and Korg keyboards that use this standard. This option is per module, not global for the entire instance of Volta, so you can seamlessly control a combination of Hz/v and V/oct gear as a single instrument.

A simple OpenSound Control (OSC) input module has been added to the to do list so you can funnel OSC data from any source into your modular.

We're busy testing interface compatibility, including the RME Fireface. The specs for this interface listed DC-coupled outputs, but in our testing, this interface does not work with Volta. Volta's calibration user interface is getting refined to display total available pitch tracking range. The hotter the interface output, the larger the pitch tracking range. In addition to providing useful feedback, this will also allow us to publish the pitch tracking range of approved Volta interfaces before Volta ships."

Korg MS-02 Interface - CV/Gate Converter Hz/V to Oct/V for Synthesizers SN 170746

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via this auction

"Converts CV and Gate signals from the Oct/V system used by Korg and Yamaha on the MS-20 and the CS-15 among other to the more standard 1Hz/V used by Moog, Roland, Arp, Sequential Circuits and Oberheim. Also works the other way, converting 1Hz/V to Oct/V."

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Future Retro Mobius Sequencer - MIDI/CV FRM081US446

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via this auction

"Future Retro Mobius sequencer. Excellent condition. Rare. Only 600 of these were made.

This is an awesome one-track sequencer which is great for writing patterns and generating new ideas. Also functions as a MIDI to CV converter, MIDI to DIN Sync converter, and MIDI to Analog Clock converter with Reset. You can synchronize the Mobius via MIDI to an external clock or have it act as a master device sending MIDI Clock, DIN Sync, and Analog Clock signals to external sequencers, plus send and receive MIDI note data and Velocity. Patch accent to control multiple target parameters on modular synths. The Mobius also supports SysEx dumping of patterns and songs.

Great for acid style basslines for analog synths. Many options for creating TB-303 style sequencing.
Glide, Accent, Master Clock. Great to connect to modular synths and the rest of your gear.

With separate outs for V/OCT and Hz/V, you can use it with most any analog synth, including Roland, Moog, Sequential Circuits, Oberheim, ARP and the Eurorack standard along with Hz/V synths like the Korg MS-20 and Yamaha CS-15."

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2019 Meets 1979 - Volca Modular Through Korg Ms10

video by ChrisLody

"Apologies that this is a bit long and self indulgent, I was having way to much fun here. This is something I've been meaning to try for a while, running the Volca Modular through the Korg Ms10 via a prototype breadboard. I don't have a modular system (yet) but it turns out this is a great way to have some fun. The Modular and the Ms10 are from totally different eras obviously and don't even appear to be compatible. The Ms10 uses the Hz/V for it's oscillators and S-Trigger to trigger it's envelope, meaning when the input receives a ground pulse it is triggered. The Volca Modular uses it's own weird 0.5v/Oct pitch standard so CV from the VM to the Ms10 is not possible, and uses the more conventional triggering method of positive pulses triggering it's envelopes. Luckily though connecting the output pulse of Function 1 is completely reversed and is a gate not a trigger so will even preserve note length so this is used to trigger the Ms10 envelope. The Volca Modular can convert incoming voltages into it's standard but that does not include the Hz/V standard unfortunately, so I'm just running the audio out into the Ms10 and using the raw oscillator outputs as audio rate modulators. Also we can use the noise output routed to the VM as a noise source.

So the top 2 sections of the video were recorded at the same time along with the sync out from the VM into Reaper. I then recorded the bottom 2 sections while the sync pulse plays back into the VM so it all syncs up.

In the top half I'm running audio to the Ms10's input from the VM, triggering the envelope from the VM's Function 1 which controls the envelope routed to the filter. The noise output on the Ms10 is fed back to the VM and i'm using the LFO output on the Ms10 to control the length of Function 2.

The bottom half of the video has the output of LPG1 routed to control the filter which gives us some tasty filter FM. Also the raw output of one of the VM's source oscillators is routed to the oscillator frequency also giving some nasty sounding FM tones. Additionally I have a modded Fab Echo pedal set up which is a pretty cool delay, much nicer than the stock echo it used to make.

I'm sure there's much more to explore here so this will probably pop up again soon I imagine. Once I've fully explored this I'll make a tutorial. I imagine this would work on an Ms20 too.

Life blog bit: I had my first Astra Zeneca jab yesterday and it was pretty nasty. I got the jab at 4.30pm, went to bed at 11.30pm shivering uncontrollably then woke up feeling like I'd been beaten with hammers all night. It took until about 11.00am until I had the energy to get up and I'm still not quite right at 3.30pm the day after. Apparently the second dose is worse. Not looking forward to it now!"

Nova Musik - Korg MS-20M Kit + SQ-1 with Rich Formidoni

Published on Apr 23, 2015 Nova Musik

"Check out great deals on the Korg MS-20 Module Kit & SQ-1 bundle at Nova Musik: http://www.novamusik.com/instruments/...

Rich Formidoni from Korg USA visits us to go over some of the cool new features on the MS-20 Module Kit and demonstrates it with the bundled SQ-1 Step Sequencer.

With features and enhancements that set it apart not only from the vintage MS-20 but even the more recent reissues, the MS-20 Module Kit is really the ultimate MS-20: activate oscillator sync or frequency modulation and select between the two filter revisions right from the front panel, and take advantage of the new PWM IN pulse width modulation input that's been added to the patch panel.

Even more significantly, the MS-20M supports 1V/octave CV input in addition to the other MS-20s' somewhat more exotic Hz/V standard, and also accepts both S-Trig and V-Trig at its gate inputs. This means that unlike even the recent MS-20 Mini and MS-20 Kit, the MS-20 Module can be connected to eurorack modular systems and other 1V/octave gear without the need for any additional equipment to 'translate' the CV signal to Hz/V. And speaking of connecting MS-20M to other gear, the new Junction section with its three sets of four jacks—one 1/8" and three 1/4" at each junction—act as a handy set of built-in mults to further facilitate integration with eurorack synth rigs.

Like other recent MS-20 iterations, MS-20M has USB and MIDI in, so all your connectivity and automation options are covered. It also comes bundled with Korg's awesome SQ-1 step sequencer, a tiny powerhouse that can sequence and synchronize across a wide variety of standards, including MIDI, USB, CV/gate at a variety of scales/standards, and even volca- and monotribe-style sync."

Silent Way for VCV Rack

Published on Apr 4, 2019 Expert Sleepers

"Silent Way for VCV Rack is a set of modules for integrating hardware synths with Rack's virtual world.

It is mostly a Rack port of key elements of the Silent Way VST/AU/AAX plug-in suite. As such any discussion, tutorials, videos etc. you might find about Silent Way generally applies to the Rack version as well."


Playlist:
1. Silent Way for VCV Rack: Voice Controller
2. Silent Way for VCV Rack: AC Encoder
3. Silent Way for VCV Rack: CV Input
4. Silent Way for VCV Rack: CV To MIDI

http://expert-sleepers.co.uk/vcvrack_silentway.html

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ROLAND AND V-MODA RELEASE M-100 AIRA HEADPHONES

"Los Angeles, CA, November 19, 2015 — Designed and built by V-MODA in collaboration with Roland, the M-100 AIRA boasts the sound quality and styling of the acclaimed V-MODA Crossfade M-100 over-ear headphones, along with with the AIRA logo customized on each shield and AIRA-green chevrons on the headband.

After a successful crowdsourcing project, V-MODA’s Crossfade M-100 ranks among the most highly regarded headphones in the world, with 18 editors’ choice awards and “Best DJ Headphones” naming rights by both DJ Mag and CNET. The M-100 headphones are also worn by 36% of Top 100 DJs, as polled by DJ Mag. The AIRA edition includes all of the M-100’s superior features, specifications and more.

Designed in Italy, the M-100 AIRA headphones feature XL memory foam ear cushions (offering a 30% increase in inner diameter, twice the depth and 55% increase in volume) for optimum comfort and sound isolation. With patent-pending dual-diaphragm 50mm drivers, 5-30,000Hz frequency response and incredible dynamic range, the M-100 AIRA gives the most accurate representation possible of music genres ranging from club to classical.

Developed with musicians, producers and DJs in mind, the M-100 AIRA features an exclusive heavy-duty two-meter cable that incorporates a secure and highly stable locking mechanism. Included in each package is an extra SharePlay™ extended audio cable with built-in 3.5mm jack that allows two headphones to share the same audio source.

Crucially, the M-100 AIRA enables users of Roland’s AIRA range of instruments and effects to hear and feel every detail of their performance on stage or in the studio, from the deepest subs of the TR-8 drum machine to the most piercing screams of the TB-3 synth.

The M-100 AIRA is extremely roadworthy thanks to its steel-frame construction, metal CliqFold™ hinges and exclusive gig-ready AIRA edition travel case for storage of the headphones and their accessories.

Roland’s Atsuo Yukawa, Senior Executive Officer and RPG Company President, commented, “After testing countless headphones for the ultimate pair that accurately represented the music we created, we found V-MODA’s Crossfade M-100. We’re immensely proud of the M-100 AIRA headphones, released in conjunction with V-MODA. A true audiophile-quality personal monitoring system for AIRA users that looks as good as it sounds, it’s the ultimate music production accessory.”

V-MODA’s Val Kolton, Chief Visionary Officer, commented, “As a producer and performer at heart, I’ve had the opportunity to fine-tune our headphones using Roland’s legendary instruments. Not only did the TR-808, TR-909, and TB-303 lay the framework of modern dance and hip-hop music, but they set the standard for V-MODA acoustics. It is an honor that our worlds have collided after independently discovering that our headphones and Roland instruments are perfectly matched at every frequency. Together with Roland’s legendary musical development and V-MODA’s accurate representation of each sound’s integrity, we fuel the ‘artists behind the artists.’”

To learn more about the M-100 AIRA headphones, visit www.RolandUS.com."

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2008 Metasonix S-1000

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via this auction

"The Ultimate Tube Synthesizer.

Pitch sources:
* 2 independent VCOs
* Made entirely of vacuum and gas-filled tubes
* Range >2 octaves using CV, octave switching allows range from 33 Hz (low C) to more than 2 kHz.
* 3 waveforms: thyratron sawtooth, square, and square with suboctave
* VCO2 may free-run or be soft-synced to VCO 1
* Numerous patch points allow enormous flexibility

Waveshaper:
* Unique circuit with soft clipper and pulse adder (shapes waveforms from VCOs by adding small pulses to top of waveform at discontinuity)
* Made entirely of vacuum tubes
* Settings: disable, soft-clip only, and soft-clip with pulses added to signal. Latter circuit allows simulation of noise source.

Filter:
* Unique multimode circuit allows it to be used as a lowpass, treble/midrange bandpass or bass bandpass filter.
* Continuously variable control allows mixing of filter forms in any proportion.
* Made entirely of vacuum tubes.
* Range of treble resonance switchable, 400-1700 Hz. Bass resonance tunes from ~100-350 Hz

VCA:
* Unique circuit using a pentode tube
* Made entirely of a vacuum tube
* May be modulated with the AR generator only, or with the control voltage generated on modulation bus 2

Modulation:
* 2 envelope generators, A(S)R and AD, both triggered with input gate signal. Both may be combined on either modulation bus to create ADSR.
* 2 independent LFOs, triangle waveform, range <0.3 Hz to more than 5 Hz. * 2 modulation buses allow combining the A(S)R, AD, and two LFOs as needed to affect any CV input in the audio circuit (VCO pitch, VCO squarer waveshape, waveshaper pulser, filter tuning).

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Metasonix S-1000 Wretch Machine Tube Synthesizer

via this auction

"The Professional Solution-The Ultimate Tube Synthesizer! The Metasonix S-1000 Wretch Machine Tube Synthesizer Rack Mount.

Pitch sources:
* 2 independent VCOs
* Made entirely of vacuum and gas-filled tubes
* Range >2 octaves using CV, octave switching allows range from 33 Hz (low C) to more than 2 kHz.
* 3 waveforms: thyratron sawtooth, square, and square with suboctave
* VCO2 may free-run or be soft-synced to VCO 1
* Numerous patch points allow enormous flexibility

Waveshaper:
* Unique circuit with soft clipper and pulse adder (shapes waveforms from VCOs by adding small pulses to top of waveform at discontinuity)
* Made entirely of vacuum tubes
* Settings: disable, soft-clip only, and soft-clip with pulses added to signal. Latter circuit allows simulation of noise source.

Filter:
* Unique multimode circuit allows it to be used as a lowpass, treble/midrange bandpass or bass bandpass filter.
* Continuously variable control allows mixing of filter forms in any proportion.
* Made entirely of vacuum tubes.
* Range of treble resonance switchable, 400-1700 Hz. Bass resonance tunes from ~100-350 Hz

VCA:
* Unique circuit using a pentode tube
* Made entirely of a vacuum tube
* May be modulated with the AR generator only, or with the control voltage generated on modulation bus 2

Modulation:
* 2 envelope generators, A(S)R and AD, both triggered with input gate signal. Both may be combined on either modulation bus to create ADSR.
* 2 independent LFOs, triangle waveform, range <0.3 Hz to more than 5 Hz.
* 2 modulation buses allow combining the A(S)R, AD, and two LFOs as needed to affect any CV input in the audio circuit (VCO pitch, VCO squarer waveshape, waveshaper pulser, filter tuning).

Main CV input controls pitch of both VCOs (Hz/V response).
Gate input triggers envelope generators, accepts 0-5v or 0-10v gate voltage.
6AL7 "eye" tube displays status of LFOs and A(S)R control voltages on three separate glowing green bar graphs.

Miniature joystick performs multiple jobs: vertical motion affects pitch of both VCOs, horizontal motion affects tuning of filter.
Press joystick in to trigger envelopes.

Features
Size: 6U high standard EIA rack mount, 3" depth below rack panel. 11 vacuum/gas tubes. Weight about 20 pounds with AC adapter. Draws 12 volts (AC ONLY) at 3 amps."

Metasonix S-1000 Wretch Machine Tube Synthesizer

via this Big City Music listing

click the image for the full size shot

"Pitch sources:
* 2 independent VCOs
* Made entirely of vacuum and gas-filled tubes
* Range >2 octaves using CV, octave switching allows range from 33 Hz (low C) to more than 2 kHz.
* 3 waveforms: thyratron sawtooth, square, and square with suboctave
* VCO2 may free-run or be soft-synced to VCO 1
* Numerous patch points allow enormous flexibility

Waveshaper:
* Unique circuit with soft clipper and pulse adder (shapes waveforms from VCOs by adding small pulses to top of waveform at discontinuity)
* Made entirely of vacuum tubes
* Settings: disable, soft-clip only, and soft-clip with pulses added to signal. Latter circuit allows simulation of noise source.

Filter:
* Unique multimode circuit allows it to be used as a lowpass, treble/midrange bandpass or bass bandpass filter.
* Continuously variable control allows mixing of filter forms in any proportion.
* Made entirely of vacuum tubes.
* Range of treble resonance switchable, 400-1700 Hz. Bass resonance tunes from ~100-350 Hz

VCA:
* Unique circuit using a pentode tube
* Made entirely of a vacuum tube
* May be modulated with the AR generator only, or with the control voltage generated on modulation bus 2

Modulation:
* 2 envelope generators, A(S)R and AD, both triggered with input gate signal. Both may be combined on either modulation bus to create ADSR.
* 2 independent LFOs, triangle waveform, range <0.3 Hz to more than 5 Hz.
* 2 modulation buses allow combining the A(S)R, AD, and two LFOs as needed to affect any CV input in the audio circuit (VCO pitch, VCO squarer waveshape, waveshaper pulser, filter tuning).

Main CV input controls pitch of both VCOs (Hz/V response).
Gate input triggers envelope generators, accepts 0-5v or 0-10v gate voltage.
6AL7 "eye" tube displays status of LFOs and A(S)R control voltages on three separate glowing green bar graphs.

Miniature joystick performs multiple jobs: vertical motion affects pitch of both VCOs, horizontal motion affects tuning of filter.
Press joystick in to trigger envelopes.

Features
Size: 6U high standard EIA rack mount, 3" depth below rack panel. 11 vacuum/gas tubes. Weight about 20 pounds with AC adapter. Draws 12 volts (AC ONLY) at 3 amps."

Metasonix S1000 "Wretch Machine"

Metasonix S1000 "Wretch Machine" prototype. Damn, that is one sexy looking behemoth of a synth (never thought I'd ever say that). Look at that thing! It's got tubes poppin out of it. Be careful... Title link takes you to a bigger shot and a PDF with details (I copied and pasted the details below in case you don't have a reader). Via Michael Weeks of www.endmusik.com, via the floor of the VTV expo. Thanks Michael!



Specs via the PDF in case you don't have a reader:
"The Ultimate Tube Synthesizer.
Pitch sources: two independent VCOs.
Made entirely of vacuum and gas-filled tubes.
Range >2 octaves using CV, octave switching allows range from
33 Hz (low C) to more than 2 kHz.
Three waveforms: thyratron sawtooth, square, and square with
suboctave.
VCO 2 may free-run or be soft-synced to VCO 1.
Numerous patch points allow enormous flexibility.
Waveshaper: unique circuit, with soft clipper and pulse adder
(shapes waveforms from VCOs by adding small pulses to top of
waveform at discontinuity).
Made entirely of vacuum tubes.
Settings: disable, soft-clip only, and soft-clip with pulses added to
signal. Latter circuit allows simulation of noise source.
Filter: unique multimode circuit, allows its use as a lowpass,
treble/midrange bandpass or bass bandpass filter.
Continuously variable control allows mixing of filter forms in any
proportion.
Made entirely of vacuum tubes.
Range of treble resonance switchable, 400-1700 Hz.
Bass resonance tunes from ~100-350 Hz.
Filter sweep is performed with photoresistor element.
VCA: unique circuit using a pentode tube.
Made entirely of a vacuum tube.
May be modulated with the AR generator only, or with the control
voltage generated on modulation bus 2.
Modulation: two envelope generators, A(S)R and AD.
Both triggered with input gate signal. Both may be combined on
either modulation bus to create ADSR.
Two independent LFOs, triangle waveform, range <0.3 Hz to more
than 5 Hz.
Two modulation buses allow combining the A(S)R, AD, and two
LFOs as needed to effect any CV input in the audio circuit (VCO
pitch, VCO squarer waveshape, waveshaper pulser, filter tuning).
Main CV input controls pitch of both VCOs (Hz/V response).
Gate input triggers envelope generators, accepts 0-5v or 0-10v
gate voltage.
6AL7 "eye" tube displays status of LFOs and A(S)R control voltages
on three separate glowing green bar graphs.
Miniature joystick performs multiple jobs: vertical motion affects
pitch of both VCOs, horizontal motion affects tuning of filter.
Press joystick in to trigger envelopes.
Size: 6U high standard EIA rack mount, 3" depth below rack panel.
11 vacuum/gas tubes. Weight about 20 pounds with AC adapter.
Draws 12 volts AC ONLY at 3 amps.
Expected availability mid-2006, expected retail price $2500.
Optional internal MIDI-CV interface, add $300."

Korg 800 DV - kit kenton Hz/v / gate / filter- full serviced

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via this auction

Pics of the inside below.

"Korg 800 DV - kit kenton Hz/v / gate / filter- full serviced
220v - power supply preventively recaped

The kit offers 2x mono800dv (duophonic synth) independently with a classic kenton Cv/hz converter"

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Korg MS-20 Kit Semi Modular Synthesizer: Analog / CV Gate / Midi / USB

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

via this auction

"Build a real MS-20 with your own hands
Creating an instrument your own hands is the part of the true enjoyment of an analog synthesizer. The MS-20 Kit lets you obtain a real, full-sized MS-20 by assembling it yourself. It goes without saying that, just like the MS-20 mini released in January 2013, the engineers who developed the original MS-20 have overseen this project - ensuring that its historic sound is reproduced with complete fidelity. In addition, the MS-20 Kit provides the filters from both the early and late versions of this classic instrument and it even allows you to switch between them. Today, 36 years after this historic instrument was first unveiled in 1978, the MS-20 returns to its true origin.

A full-size MS-20 that you can assemble yourself
The MS-20 Kit is a kit that lets you obtain a real MS-20 by assembling the parts according to the directions in the owner's manual. Most of the steps are simply a matter of tightening screws or fitting parts together, so you don't need to know about soldering or electronic circuitry. Beyond any doubt, the analog sound generated by the MS-20 that you yourself completed will sound more valuable than that of any other synthesizer.

Unlike the MS-20 mini, the MS-20 Kit is a full-size unit with a standard-sized keyboard, and the plugs are also full sized 1/4" phone plugs.

Two types of filter are provided: both the early and later versions
The original MS-20 used different VCF circuits depending on the date of production. Units produced in the earlier period used a filter noted for its distinctive distortion and self-oscillation, while the filter used in later units was a low-noise design with a more mellow character. Amazingly, this new MS-20 Kit provides both filters. You can switch between the two by moving a jumper pin on the circuit board according to your taste or needs

Overseen by the engineers of the original MS-20; a complete replication of the original analog circuitry
Just like the MS-20 mini, development of the MS-20 Kit was led by the original engineers themselves, who spared no effort to perfectly replicate the circuitry of the original unit. When it was necessary to substitute a part, the engineers made the decision based on their own ears, ensuring that the exact sound of the original unit has been reproduced. In fact, the sound of the MS-20 kit has a somewhat bright and extreme quality to it because its sound is that of an original MS-20 in mint condition at the time it went on sale, before any of the components aged.

2VCO / 2VCF / 2VCA / 2EG / 1LFO structure
The MS-20 kit reproduces the distinctive synthesis of the MS-20; two oscillators with ring modulation, and envelope generators with hold and delay.

External signal processor (ESP) for processing an external signal
The ESP carries on the experimental spirit of MS-20; it allows you to use the pitch or volume of an external audio source to control the synthesizer. For example, you can input an electric guitar and use the MS-20 kit as a guitar synthesizer, or input a mic and use it as a vocal synthesizer.

Extremely flexible patching system
The patching system provided to the right of the panel lets you create complex sounds by plugging-in cables to change the connections between the various units. The possibilities are limited only by the user's imagination; different combinations of the modulation input/output and trigger, sample and hold, and noise generator can produce an incredible variety of sounds. By patching according to the MS-20 flow chart that’s printed on the panel, even the beginner can start taking advantage of these possibilities right away.

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