Ginko Synthese SAMPLESLICER Now on Kickstarter

https://www.kickstarter.com/projects/ginkosynthese/sampleslicer

"The ultimate realtime sampler for your modular. No it's not another sampleplayer! It's a realtime cv controlled sampleslice sequencer.

The Sampleslicer will be the ultimate realtime sampler for your modular system. No, it is not a sample player!

It is a real-time sampler/slicer for your modular Eurorack system, with features that move it far beyond the scope of a regular sample-player.

What does it do?

The Sampleslicer is a real-time monophonic sampler, including a 16 step voltage-controlled sequencer.The incoming sound is chopped up automatically into 16 parts by the incoming clock signal and spread out over the16 steps in the internal sequencer.

How long can it sample?

The length of the recorded sample is set by a clock-divider, so the recording time is always linked to the incoming clock signal. You can choose between time divisions of 2, 1½, 1, ¾, ½ and ¼.
If the divider is set to 1 the sample time is equal to 16 incoming clock-pulses.
If set to ½ the sample length is equal to 8 incoming clock-pulses, spread over 16 slices (so half the time). It will produce even more glitchy fun when set to ¾, as it will spread 12 steps over 16 slices. The maximum sample time is about 30 seconds and the minimum sample time is a fraction of a second for granular noises.


How does the sequencer work?

Inside the Sampleslicer there is a 16-step voltage controlled sequencer to play back the sound. Every step is dedicated to a 16th part of the recorded sound inside memory. When the 16 steps are full the sequencer starts playing from the chosen start point till the chosen amount of steps are played. This can be in one-shot mode or in loop mode for infinite looping.
The start point and play length is determined by potentiometers or CV input.
Last but not least the individual slices can be played back as notes via CV from a sequencer or keyboard, by setting the start point in V/oct mode and play length to 1.

How does the pitch work?

There is a control to pitch the slices up or down. The pitch control affects the overall pitch of the recorded material. It can be controlled via CV.

What only realtime sampling?

Our vision on the modular world is that you get most fun out of realtime created sounds. Out of principle we chose to make this module without a memory card reader. However, if we reach our Kickstarter goal we will most probably make an add-on for using memorycards. These add-ons will be compatible with the Sampleslicer via a header on the back.

What about the soundquality?

The sample rate is 12bit, just like the good old sampling madness days. A lovely sound with a slightly raw character without being gritty. For comparison: CD digital sound quality is 16bit, gameboys are 8bit, the E-mu Emulator is 8bit, E-mu Emax is 12bit, the MPC60 is 12bit, the AKAI S612 is 12bit, the AKAI S900 is 12bit, Oberheim DPX1 is 12bit and the EMU sp-1200 is 12bit too...

In order to maximize sound quality and creative usage possibilities, we choose not to place a low-pass filter in the audio output path. The digital-to-analog conversion process already gives a clean and rounded sound, and filtering would tend to take away some brightness.
It is designed to be part of a modular system so we leave it to you whether you like to patch the output through a filter or not.

So, no, it is not 24bit as we know in the mastering studio’s. Instead, it will remind you of the good old “hip hop" sounds from the 80's :) and it's lovely! In the end it’s an instrument by itself rather than a mastering tool.

What do we need the money for?

As there are some parts that are only available in SMD we need to contract a factory for assembling the core part of the Sampleslicer. It’s not possible to make a small batch. (That would simply make the module a lot more expensive than we will ever want to sell them for.) Therefore we can only make a bigger batch, and we’ll have to take a risk before we can sell them. We need to collect all parts to make the Sampleslicers, which costs money. Next to the SMD story we use high quality parts like Alps potentiometers - we really hate wobbly interfaces! The front panels will be made in the Netherlands and will be 2mm anodized aluminium panels. Instead of being screen printed, the graphics will be part of an anodized layer. This costs a little more money but the super high quality is worth the price. And of course we have spent many hours developing the Sampleslicer and making its production possible...

Last but not least: If we reach the goal it opens a way for us to develop more innovative modules!

I'd like to thank all people who contibuted to the Sampleslicer so far. First of all:
- Lisa Dalhuijsen of Studio With: she made the lovely Ginkosynthese website and always comments me about graphic designs in a positive way.

- Mels Lenstra: he is a genius codewriter and without him the Sampleslicer would have never existed

- All the people who commended on facebook, Muffwiggler and the Dutch synthforum .

AND YOU! THANKS! A dream is coming true!"

Analogue Solutions Ships New Nyborg-12 Analog Mono Synth

First announced back in November, the new Analogue Solutions Nyborg-12 is now available.

"Analogue Solutions ships space-saving real analogue monosynth module with SEM-style filter

KINGSWINFORD, UK: British ‘boutique’ analogue synthesiser and accessory designer/manufacturer Analogue Solutions is proud to announce availability of its all-new Nyborg-12 — an Oberheim SEM-style 2-Pole 12dB/Octave MULTIMODE FILTER-equipped standalone monophonic synthesiser module with real analogue voice and modulation circuitry — as of February 4...

An analogue renaissance has ensured that the one-time state-of-the-art sounds of analogue synthesisers have long since become highly sought after again. Why? Well, many musicians realised that the convoluted menu-driven access systems deployed on many ‘modern-day’ digital synthesisers with weaker sounds bathed in built-in effects are no substitute for the hands-on immediacy of having access to a control per function at hand when it comes to speedy sculpting of ear-opening and often powerful electronic sounds suited to a variety of musical genres. With more mainstream recording artists and producers than ever now relying on custom sounds as a result of this rising and renewed interest in analogue (subtractive) synthesis, is it any wonder, then, that yesteryear’s often wonderful-sounding (though not necessarily reliable) analogue classics are rapidly rising in value, pushing them out of reach of many musicians of more meagre means? Meeting this demand head on, more analogue synthesisers than ever before are available today from manufacturers both bigger and smaller. Into this healthy and highly-competitive climate comes Analogue Solutions’ latest analogue offering, the Nyborg-12 SEM synthesiser — so-called on account of its 2-Pole 12dB/Octave MULTIMODE FILTER, the same flexible filter with LP (lowpass), BP (bandpass), HP (high pass), and NOTCH settings that is used on Analogue Solutions’ own Telemark SEM semi-modular synthesiser, similar (though not identical) to Tom Oberheim’s original 1974-vintage SEM (Synthesizer Expander Module®), much sought after itself.

So what makes Nyborg-12 so special so that it stands out from the sound of the synth crowd? To put it bluntly, there are analogue synthesisers and then there are real analogue synthesisers. As Nyborg-12 proudly states on its rugged steel/aluminium casing for all to see (and hear): REAL ANALOGUE VOICE & MODULATION CIRCUITS

But what does that actually mean? Meaningfully, apart from its high-quality 16-bit DAC (Digital-to-Analog Convertor) for MIDI (Musical Instrument Digital Interface) to CV (Control Voltage) conversion (which, by its very nature, has to be digital), Nyborg-12 is absolutely analogue through and through, hand built (by humans) using real transistors and op-amps. Unlike other so-called analogue synths you’ll find no CPU-stabilised and quantised circuits, DCOs (Digitally-Controlled Oscillators), digital LFOs (Low Frequency Oscillators), or digital EGs (Envelope Generators) hiding here, thank you very much! Instead its circuitry is based on tried-and-tested, distinctive-sounding designs dating back to the mid-Seventies, so Nyborg-12 sounds suitably vintage in character. Cast aside those bland-sounding digital synths and DSP-based soft synths and dial in Nyborg-12 whenever fat basses, screaming leads, bleeps, zaps, and all manner of other sounds and effects associated with subtractive synthesis are the musical (and not-so-musical) order of the day (or night)!

Speaking of dials, Nyborg-12 boasts an abundance of high-quality, smooth potentiometers, fully sealed against dust intrusion, together with high-quality knobs with spun aluminium caps — all as appealing to look at as they are to turn! Two super-stable VCOs (Voltage-Controlled Oscillators) — each providing a whole host of options and MODULATION sources — are available to start turning the most adventurous analogue musical dreams into reality. Thereafter, Nyborg-12 continues to follow the traditional, well-trodden analogue synthesiser signal path with its distinctive-sounding 2-Pole 12dB/Octave MULTIMODE FILTER; AUDIO MIXER (VCO 1, VCO 2, NOISE/SUB); LFO (Low Frequency Oscillator) with triangle and square wave modulation signals and MODE switch to route CV2 (velocity control voltage) or S+H (Sample and Hold) signals to that 2-Pole 12dB/Octave MULTIMODE FILTER or those VCOs; VCA (Voltage-Controlled Amplifier), controllable from EG2 or GATE with BYPASS option (allowing Nyborg-12 to be used as an external effects processor) and CYCLE setting (so the envelope is constantly re-triggered by the LFO, allowing for hands-off sound effects); and ENVELOPE 1 (VCF) and ENVELOPE 2 (VCA). As such, it should feel familiar to anyone with a modicum of subtractive synthesis skills... so much so, in fact, that reading of its accompanying user manual may only be necessary for finer operational detail: “Do not use a carwash or jet wash to clean this synth.” Surely as good advice as you’re going to get from anyone anywhere!

And speaking of communicating with the outside world, with an intentionally easy yet effective MIDI implementation — CUTOFF control of Nyborg-12’s all-important 2-Pole 12dB/Octave MULTIMODE FILTER is available via MIDI velocity or a MIDI controller — and external CV (Control Voltage) sockets for PITCH1 (VCO), PITCH2 (VCO), CUTOFF (filter), GATE (to trigger the EGs), and EXT (for feeding an external CV to various circuits), DAW (Digital Audio Workstation) integration or working with an analogue step sequencer (such as Analogue Solutions’ own Oberkorn) is a breeze. Better still, simultaneous MIDI and CV operation is possible, so users could, for example, use an Oberkorn to play a little melody then transpose that step sequence using a MIDI keyboard controller (or MIDI sequencer). Child’s play? Perhaps.

Note Nyborg-12 can be user configured in various ways to save space to suit. Shipping as a vertically-orientated standalone monosynth module (much like its bigger brother, the Telemark), it is possible to rotate Nyborg-12’s front panel so that it can be used horizontally as a desktop device. Optional wooden side panels can be screwed to a single Nyborg-12 (from its inside so no ugly screws are visible) or to two Nyborg-12s that have been bolted together. It is also possible to rack-mount two Nyborg-12s that have been bolted together using the optional matching rack ears. Either way, Nyborg-12’s modified software allows two Nyborg-12s to be poly-chained together to play as a single two-voice polysynth. Four-voice polyphony is also available upon request for those looking to really push the boat out and purchase four Nyborg-12s, though one Nyborg-12 is still a very versatile, super-sounding, space-saving standalone monosynth module in itself. One that will serve any adventurous analogue renaissance man, woman, or child well for many years to come.

Nyborg-12 is available to order online directly from Analogue Solutions (http://analoguesolutions.com/nyborg-12/) for £599.00 GBP (plus tax and delivery) or through an authorised dealer, as are its optional rack ears (£19.00 GBP, plus tax and delivery) and wooden side panels (£39.00 GBP, plus tax and delivery).

See and hear an ear-opening ensemble of Nyborg-12s in full flight here:" [posted here - also see this demo]

CLICK FOR MORE »

Vintage Oberheim DS-2 Digital Sequencer S/N 004 - Museum Piece

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

via this auction

"This was the first product produced by Oberheim. This particular unit was among the first batch made. This it truly a collector's item.

Fully tested using a Kenton Pro Solo MkII to provide Gate and CV while driving a Dotcom Modular Synthesizer. Requires a minimum Gate voltage of about 8V.

All sequencer functions were tested and proved to be working as designed. A photo copy of the DS-2 user manual will be included.

Please note that the sequencer provides a Trigger output and does not sustain the notes. The amount of sustain is controlled by the sequenced synthesizer's envelope generators using the decay and release controls. This sequencer records Keyboard CV voltages and the time between Triggers. During playback the sequence rate can be modified with the clock rate control and the pitch can be modified with three selectable transpose controls. This is a hands on type musical tool and is a lot of fun to use.

Cosmetic condition is extremely good. All control pots, switches, push buttons, push button lights and indicator lights are working. The gas discharge display is working and in fantastic condition.

It is very rare to find one without broken switches and buttons. This is a rare collectible piece of electronic music history."

CLICK FOR MORE »

Oberheim Digital Sequencer DS-2. Serial # 017

via this auction

"This is an exceptionally rare and difficult to find Oberheim vintage sequencer which was bought years ago with an Arp 2500 synthesizor. As you can see from the pictures, the serial number is an unbelievably low 017! The body of the device is very clean and in great condition. As you can see it has a copy of the original factory manual..."

CLICK FOR MORE »

Oberheim TVS-1 Analog Synth

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

via this auction

"The Oberheim Two Voice Polyphonic Synthesizer contains two Synthesizer Expander Modules, each of which is electronically a complete synthesizer, an eight position, two voice Quantized Mini-Sequencer with Sample & Hold, and a true two voice polyphonic, 37 note digital keyboard.
This combination of electronic music modules allows the synthesizer user to control two completely independent synthesizer voices. For instance, the upper and lower voices from the keyboard can separately be directed to the two Expander Modules for playing two separate musical lines from the keyboard. Or, the Sequencer program can drive one Expander Module while the user plays the second Expander Module From the keyboard. Or, the Sample & Hold can drive one Expander Module while the Sequencer drives the second.

The secret to the Synthesizer’s Flexibility is the Synthesizer Expander Module. Despite its small size (7 1/2″ by 9″ panel size) the Expander Module is a complete basic synthesizer.

The two voice digital keyboard can be operated in either the polyphonic or monophonic mode.

When – operated polyphonically, two separate and independent sets of control signals are available to drive the Expander Modules.

In the monophonic mode, both sets of signals operate when a single key is pressed. This one key depression can then drive four oscillators, two filters and four envelope generators, thereby making monophonic synthesizer sounds previously available only to users of large studio synthesizer.
Two Voice Keyboard Electronics include a three position switch which enables you to select left voice first. right voice first or unison. Also included is Portamento for the left and right voice, a two octave Transpose switch and a Pitch Bend Pot with center detent which covers a two octave range.

The Mini-Sequencer adds greatly to the Two Voice Synthesizer’s capability. Basically, it consists of a dual output, eight position quantized analog sequencer, combined with a sample & hold circuit and voltage controlled clock. The two separate control voltage outputs from the Sequencer can be used to generate two separate melodic lines through two Expander Modules. or one control voltage output can produce the melodic line while the second drives the voltage controlled clock to produce the desired rhythm."

CLICK FOR MORE »

For Sale Oberheim TVS-1 2 Voice and Digital Sequencer DS-2 Refurbished

video upload by tonetweakers

"Meticulously refurbished vintage oberheim TVS-1 and DS-2 Digital sequencer for sale.

Buy vintage synths that work like new at tonetweakers.com"

Tone Tweakers on Reverb | Tone Tweakers on Ebay

Oberheim DSX SN A34523

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

via this auction

Pics of the inside below.

"Transport yourself back to the early 1980s, a time when innovation was paramount, and Oberheim was at the forefront. The visionary Oberheim Parallel Buss system emerged as a proprietary masterpiece that paved the way for seamless connectivity and synchronization in the pre-MIDI era. This groundbreaking system interlinked an array of Oberheim marvels, including the resplendent OB-8 eight-voice synthesizer, the rhythmic wizardry of the DMX drum machine, and the ingenious DSX Digital Polyphonic Sequencer.

The DSX, a true marvel of its time, also wove its magic with other Oberheim synthesizers, embracing the likes of the OB-Xa, OB-SX, and OB-X. It could either sway to the DMX's rhythmic beat or take the reins of control over the OB-synths themselves. But the DSX was not content with merely directing these musical maestros; it held the power to command an additional eight analog synthesizers through its 8 CV and Gate outputs, a feat unparalleled at the time.

For analog synth enthusiasts, the DSX was a revelation. It could faithfully capture your live performances, recording notes and patch changes in real-time, with an astonishing capacity to hold up to 6,000 notes. With room for ten distinct sequences or songs, each of these sequences could unleash ten polyphonic tracks, orchestrating a symphony of OB-synths and DMXs. The DSX even remembered the intricate details, such as splits and doubles. To refine your compositions, it offered quantizing, looping, editing, transposing, and the ability to merge sequences.

If you possess any of these cherished pre-MIDI Oberheim analog OB-synths, the DSX presents a timeless solution for direct, classic control without the need for MIDI retrofits or complex interfaces. Despite some cosmetic wear, this pre-owned gem is in impeccable working condition, meticulously serviced with a new internal battery, internal cleaning, and maintenance. To complete the experience, the DSX arrives with a sync cable for effortless integration with your Oberheim companions and a comprehensive manual. It's your chance to rediscover the magic of a bygone era, rekindling the analog spark that fueled musical revolutions."

CLICK FOR MORE »

Oberheim TVS Pro - Two Voice Polyphonic Synthesizer SN 0137

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

via this auction

"The Oberheim Two-Voice Pro is an analog music synthesizer that was produced from 2015-2018under the Tom Oberheim brand. It is an updated version of the original Oberheim Two-Voice, which was produced from 1975-1979.

This instrument was designed around coupling two SEM (Synthesizer Expander Module) modules. Each voice is individually programmed and has its own multiband filter. The modern Pro version contains a digital sequencer, MIDI, and a comprehensive patch panel to allow the instrument to interface with modular setups."

CLICK FOR MORE »

Moog Minimoog Model D playing sussudio

Note: Auction links are affiliate links for which the site may be compensated. Uploaded on May 9, 2013 LetsPickles·3 videos

"david frank programmed the bassline in phil collins sussidio using an oberheim digital sequencer and a minimoog with midi to cv conversion. here i am using a minimoog with midi conversion via an oberheim pro-sem from a midi track in logic."


via this auction

SN 4714

CLICK FOR MORE »

Vintage RUSH: Geddy Lee & His Synths & Double Neck Bass Guitar

via The Bob Moog Foundation on Facebook

Check out that Oberheim Eight Voice System.  OB-1, Moog Minimoog & Taurus Pedals as well.  That's an Oberheim Digital Sequencer below on the left (his right).  Roland RE-201 Space Echo as well.

Larry Fast's Synergy Studio, 1978

"Moog 15, 360 Systems Frequency Shifter, 2 Oberheim Mini-Sequencers and SEM, Mini-Moog, not sure about the 2 white boxes or switch matrix to the right (might be DIY stuff), Oberheim Digital Sequencer (with LED "2" showing), Paia Phlanger and Stringz n Thingz, and original Rev 1 Prophet 5."

More info including a much larger pic, here.

An Interview with E-mu's Founder Dave Rossum

This one in via David Vandenborn of DVDBORN on The MATRIXSYNTH Lounge. theEMUs.com has an interview up with E-mu's founder David Rossum. The following is just the first question and answer for the archives. Click through above for the full interview.

"I read on the internet once that you got inspired to build the first Emulator after having seen the Australian Fairlight CMI at the AES show in 1980. I also want to build a lot of stuff that I see – but I always fail miserably and can’t even get my head around it.
I obviously know that you build modular synthesizers and that you created the technology for keyboards for other companies like Sequential Circuits Inc. and Oberheim Electronics.

What made you so sure you could do a sampler? Had you been experimenting with digital circuitry and RAM based technology prior to this? Did you buy a Fairlight sampler to look at when developing the Emulator – or did you do it differently – from scratch?

To understand fully, you need some background: the situation in May 1980 was that we returned from AES to find that Sequential Circuits was refusing to pay the royalties they had promised, and that we had counted on to fund the marketing of the Audity - which we introduced at the show.

We needed a product soon. Scott Wedge, Marco Alpert and Ed Rudnick had been talking on the drive back from the show, and thought that the Fairlight had one and only one good feature - sampling. We had also seen a Publison Digital Delay that had a capture mode, and the captured (sampled) sound could be played with a control voltage/gate type synthesizer keyboard.

The guys came to me with their ideas, and we had the need for a new MI product quickly to replace the lost Sequential revenue stream.

E-mu was the first company to use a microprocessor in an MI product - our 4060 polyphonic keyboard and digital sequencer, introduced in 1976. We'd done all sorts of stuff with microprocessors - the Audity had a full blown real-time operating system I'd written.

We'd built our own Z-80 development system including disk interfaces, etc. The sequencer in the 4060 used 64K bytes of dynamic RAM. And as I've been previously quoted as saying, "Any asshole can design digital circuits." (Analog is a LOT harder).

We also had been consultants for Roger Linn on the circuit design for the LM-1, so we knew a bit about sampling as well. We'd played with COMDACs in the lab at E-mu as well.

The Fairlight used a separate RAM and a separate CPU for each voice. When Scott, Marco, and Ed came to me with their idea, I knew that such an approach was simply too expensive for an MI product. We'd just have another Audity-class product, competitive with the Fairlight.

So I saw that the key would be to use ONE CPU and ONE memory for all eight voices. The trick was getting the memory bandwidth to accomplish that. The solution was a combination of fast, cheap DMA chips and some FIFO buffers to give them big enough bursts so that the bus negotiation didn't hog too much bandwidth.

So the answer is that we never gave the slightest thought anything but designing the Emulator from scratch. I was revolutionizing the state of the art - building what was in my mind, not duplicating something that I'd seen. And the hardware was the easy part.

The software was the real challenge. The Audity we demo'ed at AES had about 10,000 lines of code, which I'd written in about 3 weeks. The Emulator code base was a similar size, but rather more complex in several ways. Getting both the hardware and software into a form for demonstration at January NAMM 1981 was a real challenge. And that leads to..."

Emu

Happy New Year From MATRIXSYNTH! - A Look Back at 2015

Happy New Year everyone!  I want to thank you all for a great 2015 and I wish you all the best in 2016!

The following is my yearly round up for the year.  Feel free to dig into this post as much you like, or skip it and leave a comment at the bottom of the post. I'd be curious to hear what stood out for you in 2015. Do you like the direction the synthesizer world is headed in, or would you rather see more or less of any type of product?

CLICK FOR MORE »

Dave Smith Instruments Begins Shipping OB-6 Analog Synth

The new DSI OB-6 in conjunction with Tom Oberheim is now shipping! Remember to check prices with the MATRIXSYNTH sponsors on the right. I do not get a commission from them, rather they support the site directly, so please support them in return.

Here is official press release from Dave Smith Instruments:

"Highly Anticipated Tom Oberheim/Dave Smith Collaboration Now Available

San Francisco, CA—March 3, 2016—Dave Smith Instruments today announced that the OB-6, a new 6-voice analog synthesizer with discrete VCOs and filters developed in collaboration with Tom Oberheim, has begun shipping. Boasting a sound engine inspired by Oberheim’s original SEM (the core of his acclaimed 4-voice and 8-voice synthesizers), the new instrument is designed to provide true, vintage SEM tone with the stability and flexibility of modern technology.

Said Smith: “It’s been great fun working with Tom to create this synth. People are going to be blown away by how awesome the OB-6 sounds.” Added Oberheim: “The classic, unmistakable SEM tone is all there. It’s big and bold and it’s going to turn a lot of heads.”

The OB-6 features two discrete voltage-controlled oscillators (plus sub-oscillator) per voice, with continuously variable waveshapes (sawtooth and variable-width pulse, with triangle on oscillator 2). There is a classic SEM-inspired state-variable filter (low-pass, high-pass, band-pass, and notch) per voice. Voltage-controlled amplifiers complete the all-analog signal path.

Present also is X-Mod, with filter envelope and oscillator 2 as modulation sources (with bi-polar control). Destinations include oscillator 1 frequency, oscillator 1 shape, oscillator 1 pulse width, filter cutoff, and filter mode. The knob-per-function front panel puts virtually all parameters at a user’s fingertips. Toggling on the Manual switch enables live panel mode, in which the OB-6 switches to the current settings of its knobs and switches.

A dual effects section provides studio-quality reverbs, delays (including standard and BBD), chorus, and faithful recreations of Tom Oberheim’s acclaimed phase shifter and ring modulator. The effects are digital, with 24-bit, 48 kHz resolution, but a true bypass maintains a full analog signal path. Additionally, the OB-6 features a multimode arpeggiator and a polyphonic step sequencer with up to 64 steps (and up to 6 notes per step) plus rests. It allows polyphonic keyboard input and can sync to external MIDI clock.

The full-size, four-octave, semi-weighted keyboard is velocity and aftertouch sensitive. Said Dave Smith, “As with the Prophet-6, we made size a primary concern on the OB-6. It’s the right mix of power and portability and it fits right in on-stage or in the studio.”

The OB-6 is manufactured and sold by Dave Smith Instruments. It has a US MAP of $2,999."

http://www.davesmithinstruments.com/product/ob-6/

Oberheim DS-2A Vintage Digital Sequencer

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

via this auction

"The rarest of rare, The DS-2A is a pre- digital music sequencer. Designed and built in 1974 by Tom Oberheim , it is considered one of the first ever digital musical sequencers. It pre-dates Tom's famous SEM and was Tom's first real synthesizer product. The DS-2A is capable of storing and sequencing 144 notes and provides a single channel of CV/Gate input and output."

CLICK FOR MORE »

Sequencer driven Berlin School Electronica | ARP 2600, Roland Vocoder, Korg PS-3100, Oberheim OB1

Published on Jan 27, 2016 Ralph Baumgartl VLog

"Listen to a Sequencer driven Berlin School Electronica track which I recorded in 1983, using an ARP 2600, a Roland Vocoder SVC-350, a Korg PS-3100, an Oberheim OB1 synthesizer, an MFB digital sequencer , a Roland System 100M and a Roland SDD-320 Dimension D.

Check out my previous video in which I am explaining my personal background in Ambient and Berlin School of Electronic Music"

My Berlin School Electronic Music Background | ARP 2600 - Korg PS-3100 - Roland Vocoder SVC-350

Published on Jan 19, 2016 Ralph Baumgartl VLog

"I am explaining my personal background in Ambient and Berlin School of Electronic Music. You will hear a track which I recorded in 1983 using an ARP 2600, Korg PS 3100, Roland Vocoder SVC-350 and a Roland SDD-320 Dimension D. Enjoy some Ralph Baumgartl old school stuff."

MXR 185 Digital Drum Computer

via this auction

"The MXR 185 Digital Drum Computer was a noble but brief attempt by MXR to break into the once burgeoning market of the drum machine frenzy in the early 80s. The Founder of MXR and also Alesis, Keith Barr, saw the potential for an "in" into the market and decided to consult both Roger Linn and Tom Oberheim on the design concepts of a proper digital drum machine. At the time of the development of what was to become the 185, Roger Linn who reveling in the glory of the LM-1, was just putting the finishing touches on the LinnDrum and Tom Oberheim who already had massive success with the DMX was looking to make improvements with the DX. The MXR 185 was one of the EARLY drum machines and was directly modeled after the Linn and Oberheim concepts. Unfortunately, the MXR was unable to recreate the allure of the Linn and DMX which were already de facto staples in the music industry. Though this drum machine definitely embodies the essence of the earliest drum machines, it really didn't offer anything that made the buyer want to change what they had and with MIDI popping up on the scene at this time, MXR was just a little behind in what was a very high-pace and ferociously competitive time in the electronic music instrument industry...

First off, this unit is really clean. This would be perfect for a museum or for a Rompler Mod project. The sounds are thick and chunky like a Linn and just dripping with character. The unit does NOT have MIDI though there are MIDI to PPQ converters out there to make it run on MIDI. The sequencer section has a couple of limitations like: You can't change programs while the sequencer is running. You have to press stop, change patterns and then press start again. The unit does not like corrupt patterns. I have confirmed that the CR2032 memory battery in this unit is dead so if the unit sits long enough with no power, the memory starts to fault and then you will have to program the pattern again. All this unit really needs though is someone to take it under their wing and give it a purposeful life again. It's very cool, very rare and very clean."

CLICK FOR MORE »

Dave Smith Instruments (DSI) Evolver PolyEvolver -- Pure Sound

Uploaded on Jan 25, 2012 LESINDES·94 videos

"DSI Evolver Keyboard -- Pure Sound

It is an analogue synth, 2 (analoge) DCOs, 2 digital oscillators, anlogue VCF, 3 digital evelopes, 4 digital LFOs, 4 x 16-step-sequencer, 3 digital delays.Although the analogue signal is converted to digital and reconverted to analogue again it sounds pretty convincing and, comparing it to nowadays simulants, warm and anlogue. But it is far away from beeing a Minimoog,Multimoog (s. my video), ARP2600, Oberheim SEM, Moog Voyager."

Arturia Announces the MicroFreak - Hybrid Hardware Synthesizer Like No Other

Published on Jan 24, 2019 Arturia

Update: be sure to see this post.

Priced at $349/299€, available this Spring.

"A synthesizer like no other, MicroFreak is a peculiar, exceptional instrument that rewards the curious musician. It blends wavetable and digital oscillators with analog filters. It features a unique poly-aftertouch flat keyboard. It adds controlled randomness to sequences. This isn’t a revolution, it’s a mutiny."


Whether you’re looking for your first, affordable hardware synth or are collector looking for original sounds and unique interface, MicroFreak is the synth you need.

This out-there little music machine features a versatile digital oscillator so you can create rare and interesting sounds with ease. Modes like Texturer, KarplusStrong, Harmonic OSC, and Superwave give adventurous musicians the chance to explore totally new, unheard possibilities. Like having dozens of synths in just one instrument, both wild-eyed newcomers and seasoned professionals will fall in love with MicroFreak’s flexible, powerful synth engine.

Small but fierce

MicroFreak packs so much in to such a compact instrument, you'll wonder how we did it. We'd love to say it was magic, but it was pure skill and passion.

Physical modelling, wavetable synthesis, virtual analog, there is nothing as complete and exciting as the MicroFreak oscillator on the market. It's hard to believe from such a small synth, but here it is, ready for you to explore. Excite your creativity and reward your curiosity with a large, diverse sound palette. MicroFreak features 13 awesome oscillators, 5 bespoke Arturia engines, and 8 modes from our partners at Mutable Instruments.


There's a little freak inside you, and this instrument will bring it out.

The best of both worlds

Even though MicroFreak has a digital oscillator at its heart, “opposites attract” as the saying goes. That’s why we’ve included a lush-sounding analog filter.
Inspired by the trailblazing 12-dB Oberheim SEM filter, you can make MicroFreak’s filter scream or whisper to taste. The filter is state-variable, and can even auto-oscillate! You can use this is any way you like, from taking the edge of the razor-sharp wavetable sounds, or automating the cutoff by modulating it with keyboard pressure or the in-built sequencer.

Wait. Did we mention that MicroFreak has a sequencer? And a mod matrix? Things are about to get seriously interesting...

Taste the spice, throw the dice

MicroFreak is packed with unique, exciting features that let you create music with a fresh perspective.
Record up to four automations, edit notes per step or use the innovative Spice and Dice sequencer functions to find happy accidents. Add randomization to create evolving, original patterns, and virtually rewire and reconfigure its signal chain and controls with the 5x7 modulation matrix.

This truly is a budget-friendly synth like no other.

“That’s a funny looking keyboard”

That’s right, it is. It isn’t really even a keyboard. It’s a PCB. Super-flat, with no moving parts. Will it track lightning-fast synth solos? You bet. Better than a traditional keyboard, actually.
Will it let you be expressive? Of course, it’s not only pressure sensitive, but also offers poly-aftertouch. This means each key can control parameters in a different way depending on how much you touch.

You can also use its USB, MIDI, and CV outputs to control instruments in your DAW and modular synths. This also means that you can also use MicroFreak as a controller to experience polyphonic aftertouch with cutting edge software instruments.

Abstrakt Instruments Avalon Bassline Synthesizer Details & Specs

Additional details on the upcoming Avalon Bassline via Abstrakt Instruments are in:

"The avalon bassline is a high quality analog bassline synthesizer and sequencer. The core circuitry of the avalon is based on the revered Roland? TB-303 bassline synthesizer, to which a new layer of analog and digital circuitry has been added to position the avalon as the premier bassline synthesizer.

• Core analog and digital circuitry based on TB-303
Incorporates layout and parts from the original bassline, including carbon film resistors, united chemi-con electrolytic capacitors, poly foil film capacitors, original IC's, and sanyo/on semi & mitsubishi transistors.

• Synth Cartridge System™
Compatible with the cartridge system in the form of filter plugin carts.

• Extensive Analog Control
In addition to the six analog controls of the original bassline, the avalon includes controls for sub osc/ext input level, filter tracking, accent decay time, vca decay (normal to full off), utility envelope attack & decay time, utility envelope to vfc and vca modulation depths, frequency response select (normal and full range.

• Extensive Digital Control
In addition to backwards compatibility with the TB-303 pattern write pitch & time modes the avalon incorporates new progamming modes making extensive use of (16) step LED switches. Patterns can be up to 64 steps in length (up to 4 sections x 16 steps) and each pattern can have numerous scales including triplet modes. Real-time editing includes slide time select, utility envelope trigger mode, pattern step skipping, pattern reverse, rotate, random, & shuffle. There is also an arpeggiator that can be performed real-time or recorded directly into a pattern.

• MIDI & DIN Sync
Sync source can be selected as internal, MIDI, or Din Sync, and the avalon sends both MIDI & Din Sync.

• Audio inputs & Outputs
Includes main & headphone outputs, saw and square outputs (+/-5V), external input, and filter and vca outputs.

• CV Inputs & Outputs
Includes cv & gate input and output, filter cv Input, & accent sweep output.

Filter Plugin Cartridges
The avalon bassline is a high quality analog bassline synthesizer and sequencer. The core circuitry of the avalon is based on the revered Roland? TB-303 bassline synthesizer, to which a new layer of analog and digital circuitry has been added to position the avalon as the premier bassline synthesizer.

• Transistor Ladder Filter
This filter is based on the Minimoog ladder filter and includes 12dB & 24dB modes.

• SEM State Variable Filter
True to the orginal design of the beloved Oberheim SEM filter. It is designed using SMD parts in a similar manner to the current Tom Oberheim SEM modules. Includes low-pass & high-pass modes.

• JP Low Pass Filter
Based on the original jupiter 8 & juno 6/60 low pass filter. Includes both 12dB & 24dB modes.

• 4075 Low Pass Filter
This filter is true to the design of the Arp 4075 low pass filter and includes 12dB & 24dB modes.

• Wasp Multimode Filter
An accurate surface mount version of the Wasp 12dB multimode filter."