"Yamaha MU10 portable XG Midi synthesizer. These are great sleeper sound modules.
They play general midi as well as XG midi and sound fantastic.
Works via MIDI or serial using a macintosh style minidin.
The MU10 is on par with a MU50 in terms of polyphony/multitimbral. Just without controls or an lcd. (And you never really need those)
Tested, and clean. Works with AA batteries or any 12V power adapter (not included)"
XILS-lab lovingly lavishes virtual makeover on acclaimed PolyKB III virtual instrument plug-in, providing new hi-res UI and more with Version 3.6.3
“Since starting XILS-lab, the rarified and revered RSF PolyKobol II analogue polysynth from France has always held a special musical place in our hearts — the true destination of our ongoing journey to create one of the best-sounding virtual analogue synthesizers available today. Tweaking our algorithms for a better sound with less CPU load, we’ve never stopped working on PolyKB III, always adding new features.”
- XILS-lab CEO Xavier Oudin, 2023
GRENOBLE, FRANCE: XILS-lab is proud to take PolyKB III to Version 3.6.3 status — lovingly lavishing the virtual instrument plug-in par excellence with a new hi-res UI (User Interface) and associated faster UI engine alongside full Apple Silicon compatibility and VST3 support, while ensuring that it remains one of the best-sounding virtual analogue synthesizers available, thousands of development man-hours after first being launched in its original PolyKB incarnation as the then-fledgling virtual instrument and effect plug-in-specialising software company’s second product release way back in May 2010 — as of March 14…
Like its predecessors, dating all the way back to a May 2010 release in its original (PolyKB) incarnation, the latest Version 3.6.3 of PolyKB III truly captures the sound and spirit of the rarified and revered RSF PolyKobol II analogue polysynth from France — one that surely should have made more of a musical mark in its own right with advanced analogue waveform-morphing oscillators well ahead of their time, yet sadly saw the demise of its innovative creators, completely out of touch with 1983’s untimely arrival of Yamaha’s digital dominance-triggering DX7 super- seller (shifting upwards of 200,000 units, compared to the miserly 40 units, each costing several times that of a DX7, managed by RSF before it ran into financial difficulties) — to include its most revolutionary feature: analogue waveform-morphing oscillators.
On the face of it, then, those analogue waveform-morphing oscillators — providing instant access to hundreds of different analogue- modelled free-running oscillator waveforms, which is far more than those provided by other virtual instrument plug-ins, including those that switch between oscillator sets — are available for all to see clearly now in Version 3.6.3 of PolyKB III, thanks to its new hi-res UI. Ultimately, they can be dynamically modulated by a number of sources.
When working with the latest Version 3.6.3 of PolyKB III, there are also two gorgeous, creamy-sounding multi-mode filters — VCF 1 and VCF 2 — to play with, each of which is self-resonating in all modes while also making use of XILS-lab’s proprietary 0df (Zero Delay Feedback) technology. There are also three analogue-modelled envelopes — ADSR1, ADSR2, and ADSR3 — with time multiplication and looping facilities, all working together with two LFOs (Low Frequency Oscillators) — LFO1 and LFO2 — to deliver a fat, warm, and instantly inspiring ‘analogue’ sound like no other.
Of course, even when first released to the musical masses in December 2016, PolyKB III would not be worthy of joining XILS-lab’s ever- expanding virtual instrument lineup if it did not include innovative and exclusive features — features like each voice having its own modulation engine or, indeed, using the polyphonic SEQUENCER as a giant 128-step, four-line/16-destination so-called ‘Step Sequencer Modulator’ making it fit for being propelled well and truly into the 21st Century! Creatively, this allows users to sculpt not only the most detailed trance- gate patterns, but also slides and incredible rhythmic patterns. Put it this way: with PolyKB III it is possible to modulate anything with anything!
And it is also possible to make each note sound different: the Voice XY module acts as a single-note quad XY modifier — with total control over the creation of subtle or wild variations for each note in a 2D window with four different parameters, while the Space XY module makes creating a 3D space a breeze — users can freely place each note in a three-dimensional space to build otherwise unachievable ‘stereoscapes’ with movement induced by inbuilt chaotic functions. It is fair to say that users have never had so much creative control over the stereo field! Furthermore, both modes can be combined with the True Unison engine, producing dazzlingly deep sounds that will musically take anyone’s breath away and immediately take pride of place in any mix.
Meanwhile, with its new hi-res UI and associated faster UI engine alongside full Apple Silicon compatibility and VST3 support vying for attention and distinguishing the latest Version 3.6.3 of PolyKB III from its acclaimed predecessors while it readily remains one of the best-sounding virtual analogue synthesizers available, XILS-lab CEO Xavier Oudin is justifiably proud of how far it has come and where it is going: “Since starting XILS-lab, the rarified and revered RSF PolyKobol II analogue polysynth from France has always held a special musical place in our hearts — the true destination of our ongoing journey to create one of the best-sounding virtual analogue synthesizers available today. Tweaking our algorithms for a better sound with less CPU load, we’ve never stopped working on PolyKB III, always adding new features.”
The latest Version 3.6.3 of PolyKB III is available to purchase as an iLok-protected virtual instrument plug-in (including computer-based authorisation), priced at an introductory promo price of €59.00 EUR until April 16, 2023 — rising thereafter to its regular price of €199.00 EUR — directly from XILS-lab via its dedicated webpage, which also includes more in-depth information, here: https://www.xils-lab.com/products/polykb-iii-&-ii-p-159.html
"Listening to Stephan Ho's demo of the Roland Juno X I wondered if I would be able to do the same song with my own instruments. Syntakt, Take 5 and Lead A1 proved to be perfectly up to par, don't you think?"
Use this code on checkout for $30 off orders of $100 or more from now until December 31: MATRIX30
"Ultra rare, synthétiseur analogique Sequential Circuits Prophet-10 original, vendu avec son flight case d'origine et la petite cassette de sauvegarde.
Les key bushing sont neufs sur les deux claviers, les condensateurs de l'alimentation ont été changé, quelques condensateurs changés par des condensateurs Nichicon Gold sur certaine carte, batterie Ni-MH neuve rajouté pour sauvegarder les mémoires (photo 5).
Le sequenceur ne fonctionne pas, le MIDI non testé, à besoin d'une petite révision pour qu'il soit opérationnel à 100%.
Gros son analogique, 10 voies de polyphonie, 5 voies par clavier.
3 sorties XLR symétriques, 3 sorties jack 6.35 asymétriques.... MIDI..."
Googlish:
"Ultra rare, original Sequential Circuits Prophet-10 analog synthesizer, sold with its original flight case and small backup cassette.
The key bushings are new on both keyboards, the power supply capacitors have been changed, some capacitors replaced by Nichicon Gold capacitors on certain boards, new Ni-MH battery added to save the memories (photo 5).
The sequencer does not work, the MIDI not tested, needs a little revision to make it 100% operational.
Big analog sound, 10 voice polyphony, 5 voices per keyboard.
3 balanced XLR outputs, 3 unbalanced 6.35 jack outputs...MIDI..."
"GM Lab présente ses deux synthétiseurs open source à base de Raspberry PI : le X1000 et le Picosynth, GM Lab étant par ailleurs un projet parallèle à la marque Crumar que vous connaissez peut être. Plus d'infos sur leur site : https://gmlab.it/"
"GM Lab presents its two open source synthesizers based on Raspberry PI: the X1000 and the Picosynth, GM Lab also being a parallel project to the Crumar brand that you may know. More info on their website: https://gmlab.it/"
See the SOUNDMIT label below for additional posts.
"Présentation par Sébastien du Beats FM de X Audio Systems, un récepteur radio à plusieurs entrées doté d'un LFO pour scanner les bandes, d'un filtre et d'un delai. Plus d'infos : https://xaudiosystems.com/"
"Presentation by Sébastien of Beats FM from X Audio Systems, a multi-input radio receiver equipped with an LFO to scan the bands, a filter and a delay. More info: https://xaudiosystems.com/"
"Présentation et démo du tout nouveau Rondo de GM Lab, une string machine de type Eminent / Solina autour de 200€. GM Lab étant par ailleurs un projet parallèle à la marque Crumar que vous connaissez peut être. Plus d'infos sur leur site : https://gmlab.it/"
"Presentation and demo of the brand new Rondo from GM Lab, an Eminent / Solina type string machine around 200€. GM Lab is also a parallel project to the Crumar brand that you may know. More info on their website: https://gmlab.it/"
"Plusieurs appareils MIDI étaient présentés par GM LAB au SoundMiT 2022 : 1 pédale d'expression USB/MIDI (UP4), 2 contrôleurs à tirettes pour contrôler des orgues (D9U et D9X), un transformateur de signal + filtre MIDI (MJU) ainsi qu'un routeur MIDI en étoile (ST4)
GM Lab étant par ailleurs un projet parallèle à la marque Crumar que vous connaissez peut être. Plus d'infos sur leur site : https://gmlab.it/"
"Korg Trident MK I, analog polyphonic synthesizer. Majestic and ethereal String Machine par excellence, with a built-in flanger, these sounds are the stuff of synth legend. This one has been serviced locally in Montréal Canada, by synth tech merlin Daniel Coté (formerly head synth tech of Long & McQuade) to top condition."
Vera Sienra (voz en Días) - Lucía Torrón (letra y voz en Días) Camila Rodríguez (letra y voz en Ya) - Pedro Dalton (voz en El túnel)
Luis Angelero (guitarra en Días) - Gabi Lucena (guitarra en Disrupción) Candela Cibrián (coros en Ya, recitado en El otro día)
Voz de Vera Sienra grabada en El liebregal por Federico Coore y Haugussto Brazlleim Voz de Lucía Torrón y Camila Rodríguez grabadas en Basurita por Guillermo Berta Voz de Pedro Dalton grabada en La encrucijada por Orlando Fernández
Producción, grabación, texto en El túnel y mezcla: Par Master: Emiliano Zapata.
Arte y diseño: Nacho Adda.
Grabado entre 2019 y 2021
Gracias a Vera, Lucía, Camila, Pedro, Luis, Gabi por sumarse y elevar la idea; a Lu y Feli por acompañarme, y a todos los que de alguna manera u otra colaboraron para que este trabajo salga a flote.
"Voici la version 'reporter' du test du filtre ARP 1047 cloné par Mos-Lab ainsi qu'un comparatif avec la version Behringer. En toute honnêteté, Seb et moi avons été surpris par la version d'Ulli. En dépit d'un niveau de sortie moindre, le son est très proche."
"Up for grabs is an EML 500 purchased during the Electric Lady attic sale about 13 or 15 years ago now. It was used on some albums. For being in storage for who knows how long it was in great shape and has performed fairly well this whole time. In preparation for sale we had it fully serviced earlier this year: Power Supply rebuilt, all new electrolytic capacitors, all new key bushings and springs, keybed calibrated, bus bar cleaned, all faders either disassembled and properly cleaned and rejuvenated or if they were not up to par they were replaced with period correct identical stackpole faders, and all trimmers tuned with precision calibration.
The cosmetic condition is very good. There are some obvious signs of use but it has been studio kept it’s entire life and well cared for. A modest 9/10. We are probably far under rating it by listing the condition as very good. Still, it is a 50 year old synth."
Isla Instruments S2400 is a modern sampler inspired by E-MU SP-1200.
Yes, you can create vintage, lofi and dirty Hiphop/House/Techno with it, but you can also compose modern stuff with neat sound quality. Before the review (i'm still working on it), i wanted to show how to perform a musique concrète-ish track without using the sequencer. Nothing is written before, all the sounds are performed live with pads, faders and filters.
S2400 only, with une pincée de OTO Machine BAM at the end, because there is no reverb in the actual firmware. But i hope it will change (This is a message for Brad and Vlad ^_^).
How it works :
Instead of using discrete and short sounds on each track, i like to use very long recording as a library of sounds, textures and ambiances. With the faders help, i can change playhead position, volume and pitch for each track. Pads are used to trigger and re-trigger sounds, filters to make room for frequencies.
As files bigger than 64MB can't be loaded in the S2400 editor, changing playhead position needs to be done blind, but that's part of the fun. You never know what you will trigger next, you need to improvise, and each performance is unique."
"Démo rapide de l'Oberheim OB-X8 par Gerry Bassermann.
Le son du filtre est à tomber par terre ! (2è moitié de la vidéo)
Quelques glitchs se sont glissés ici et là (problème d'adaptateur défaillant...)."
Googlish:
"Quick demo of the Oberheim OB-X8 by Gerry Bassermann.
The sound of the filter is to die for! (2nd half of the video)
A few glitches have slipped in here and there (failing adapter problem...)."
"Uen performance capturée sur le vif avec le micro caméra pendant qu'un des staffs de Polyend faisait une démo. Pas le meilleur son, mais cela donne une bonne idée des capacités de performance de la machine."
Googlish:
"A live performance captured with the micro camera while one of Polyend's staff was doing a demo. Not the best sound, but it gives a good idea of the performance capabilities of the machine."
"With all the excitement generated by the new Oberheim teasers, I thought it might be fun to do a jam with some classic Oberheim sounds. But really, this is really just an excuse to use this ridiculously complex Eurorack / Pro 2 patch that I made. It's a 4-note paraphonic patch, with each VCO in the rack being modulated by a sine wave from the Pro 2 (each individual Pro 2 oscillator is sent out of CV Ports 1-4). I'm also running the VCO outputs back into the Pro 2's CV inputs to modulate each oscillator's frequency and get true cross mod. Then I've got 8 VCO outputs (4 sawtooth and 4 square wave) going into the G-Storm Electro XaVCF, an OB-Xa filter clone, which is in LP 2-pole mode. With all that signal going into it, it produces a heavily overdriven sound, even without the resonance cranked. None of the sound is coming from the Pro 2 as it just acts as a modulation source. Classic 80's Oberheim sounds are coming from the OB-6, obviously. On bass is the Roland JUNO-6, and the JX-3P gets pad duty. Everything gets a heavy dose of Audiothingies Doctor A delay and reverb, except for the drums, which run through the MIDIVERB II for that nostalgic 80's gated reverb (preset 31, if you're wondering).
I didn't rehearse this jam, just programmed a couple drum parts and went for it, staying in the key of C major the entire time, because the black keys are too hard to find in a jam for someone with my sub-par abilities. Also, having to use the octave keys on the OB-6 would throw another wrench in that I just can't really manage to deal with in a live situation. It's a shame, because the Eurorack patch sounds badass in F, hitting the bottom key on the Pro 2's keyboard. So if I had changed it up, it would have been going down to F and then coming back to C. Too advanced, I know.
Gear Summary
Modular: Eowave Titan Discrete Oscillators (x2), Roland System-500 512 Dual VCO, 530 Dual VCA, 540 Dual Env/LFO, 555 LAG/S&H, G-Storm Electro XaVCF and Spring Tank Reverb driver, modulated by the DSI/Sequential Pro 2
Synths: Sequential/Oberheim OB-6, Roland JUNO-6 and JX-3P
Drums: Roland TR-6S
Effects: Audiothingies Doctor A, Alesis MIDIVERB II"
