Introducing Capt'n BIG-O and Mr. Phil Ter by Cre8audio

video upload by Patchwerks Seattle

In this video resident expert Matthew Piecora (aka EZBOT) shares Cre8audio's newest modules: Capt 'n BIG-O and Mr. Phil Ter. Capt'n BIG-O is a fully analog oscillator built from the ground up to sound uniquely warm and huge. The oscillator also sports a wavefolder and a drive circuit, both of which you can route external signals into. Mr Phil Ter is a classic transistor ladder filter with a built in VCA and envelope generator. Along with these two new modules Cre8audio also released a two tier all wood rack stand for their popular Nifty Cases.

Order a Capt'n BIG-O here: https://bit.ly/cre8audio_captn_bigo
Order a Mr Phil Ter here: https://bit.ly/cre8audio_mr_phil_ter

https://patchwerks.com/
Demo by: Matthew Piecora
Video by: Matthew Piecora (aka EZBOT)
https://www.ezbot.live"

Captn'n Big-O - analog VCO introduction and feature overview

video upload by Cre8audio

"Captn'n Big-O is a 100% fully analog eurorack compatible VCO with wave shaping. In this video, Cre8audio partner Richard Nicol of Pittsburgh Modular Synthesizers takes us all on a tour of Capt'n Big-O's features and provides a few samples of how it sounds."

Mr. Phil Ter introduction, feature overview, and noise
video upload by Cre8audio

"What if your filter module also had a VCA and an envelope generator? Would a name like Mr. Phil Ter be a good name for it? Probably not right? Well, we at Cre8audio never claimed to be marketing geniuses (except for our jerk marketing person, but we rarely listen to them).

Anyway, check out Mr. Phil Ter, or 'Phil' as we affectionately call it. It's 12hp of filter, VCA, and envelope generator for all your sound manipulation needs."

Cre8audio BigEARS for NiftyCASE
video upload by Cre8audio

"Introducing this fantastic miracle of science! That's right, 2 pieces of nice wood (birch) made specifically to stack 2 Cre8audio NiftyCASES together for double your Nifty pleasure!

NiftyCASE BigEARS are made specifically for NiftyCASE, a powered eurorack compatible modular synthesizer case with built-in MIDI to CV conversion made by Cre8audio. It's Nifty!"

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Introducing THE CMS 2607 - An ARP 2600 on Steroids

As you know, CMS (Cirocco Music Systems) is Phil Cirocco's synth company. He is not only the world's most renown ARP tech (BTW, see my CMS Lumina upgraded Odyssey here!), but also a manufacturer. THE CMS 2607 is his latest creation. Knowing it comes from him, you know this is going to be one great synth.

The following are some details via CMS:

"THE CMS 2607 6U RACK MOUNT INTEGRATED SYNTHESIZER

CMS is proud to unveil for the first time, our new synthesizer, the CMS 2607. We took all the features of the original ARP 2600, combined them with our world famous upgrades, added more cool stuff and then squeezed it all into a 6 space rack mount heavy duty enclosure. This particular incarnation is the '2500 version' that features a beautiful heavy duty brushed aluminum front panel. We are also currently making standard versions using grey and blue paint similar to the original ARP 2600 factory color schemes.

Initially, a very small quantity of special issue handmade 2607s will be made available to the general public until the factory produced models are available. These will be priced higher than the factory made mass produced units.

Price for one of the hand-made limited edition $8699.00. (9,499.00 for units with early type VCOs) plus packing and shipping charges.

Target price for the standard version 2607 will be 4999.00 USD . The standard version is not available at this time but we will soon be taking orders on the standard version. This price is subject to change. Check back with this page if you are interested in the standard version and can wait.

If you are interested in ordering one of the special issue limited edition 2607s now, send a paypal deposit of $3000.00 USD to filter@discretesynthesizers.com to register your order or mail us a personal check. Delivery guaranteed to be no longer than 4 months from the date of deposit. There is a limit on how many of these special order units that will be available for 2016, so contact us now if you are seriously interested.."

And the front panel (click for a slightly larger shot):



Update: A couple videos spotted and sent in via Soviet Space Child:

CMS 2607 DEMO #1- NO PANEL GRAPHICS

Published on Sep 22, 2016 Phil Cirocco

"This is demo #1 of the new CMS 2607 prototype. This is before we had the front panel graphics finished. For more info go to discretesynthesizers.com"

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Rick Powell 1969 RA Moog 1p/2p Modular Up for Auction

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

via the listing: "RA MOOG modular synthesizer system built in 1969. This 1p/2p custom system built especially for Rick Powell in 1969.

Rick was a musician, a producer and a close friend of Robert Moog.

This is one of only a few completely intact RA Moog factory built custom systems specifically built for a customer during the RA Moog period.

Rick Powell used this unit on his “Choir Book” LP (also featured on LP cover) and also the “Switched On Country” LP.

System was built with a RA Moog 950 keyboard (serial 2048) which is in very good condition. The modules are as shown. 4 of the 902 voltage controller amplifiers, 2 of the 911 envelope generators, a 907 fixed filter bank, a 904-A voltage controlled low pass filter, a 904-B voltage controlled high pass filter, a 901-A oscillator controller, a 901-B oscillator, a 903 white sound source, a 901 voltage controlled oscillator and 2 of the mixer units. Both keyboard and cabinet interconnect cables are included. The 901 has a common factory mod to regulate thermal changes which cause drift.

I Bought this unit directly from Rick Powell’s widow and drove cross country from Los Angeles to Florida to pick it up. I wanted to avoid shipping it. Months later I drove it cross country again to Georgia to drop it off with Phil Cirocco of C.M.S. Phil Cirocco at C.M.S. is by far the most knowledgeable, talented, experienced and careful modular synthesizer technician in the world. Though I requested Phil restore the unit meticulously at to factory operating spec, I also insisted the entire system remain as factory stock as possible and all replaced electronic parts be in harmony with the original production parts. A great deal of Phil’s time was used to make this system as perfect as possible and operating to original factory spec. The bill for servicing was a substantial investment. At the time of servicing I had planned to keep this unit and spared no expense. Recently however I was fortunate to have the opportunity to purchase a more desirable system and so I will let this beautiful perfectly restored system go to a new home.

This is a very rare chance to own an original RA Moog factory assembled unit with interesting provenance. It is also a rare chance to own a Moog system so expertly and carefully electronically restored."

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Synthpop pioneer Phil Oakey takes to Telemark V2

"KINGSWINFORD, UK: British ‘boutique’ analogue synthesiser and accessory designer/manufacturer Analogue Solutions is proud to announce that bona fide synthpop pioneer Phil Oakey has added a Telemark V2 semi- modular analogue monosynth to the stunning synthesiser collection currently residing at The Human League’s legendary HL Studios in Sheffield...

Human League main man Phil Oakey needs little in the way of introduction. Having co-penned some of pop’s finest musical moments with memorable hits spanning several decades — notably 1981’s chart-topping perennial favourite ‘Don’t You Want Me’ (which sold well over a million copies in the UK alone, making it the 25th biggest-selling single of all time there, then shifted another million copies to secure the coveted US number one spot during the following year), he helped forge a popular music landscape-changing template for pre- programmed, synth-driven song structures that are still reverberating around the world today.

Back in the day, The Human League ‘Mk I’ co-founder Ian Craig Marsh wasn’t adverse to rhythmically riding a mid-Seventies-vintage Roland System 100 semi-modular analogue synthesiser’s resonance and filter faders to create a track’s Model 104 Sequencer-driven bass and snare drum on the fly! No need to do that today, of course, for HL Studios is packed floor to ceiling with old and new synths to die for. Indeed, it’s fair to say that what Phil Oakey doesn’t know about synths simply isn’t worth knowing!

Now something of a connoisseur, Oakey owns a considerable collection of synths, sequencers, and drum machines at HL Studios, many of which are analogue. Which is exactly why he has taken delivery of an Analogue Solutions Telemark V2, a dual-VCO, rack-mountable, semi-modular analogue monosynth with multimode VCF featuring lowpass, highpass, bandpass, and notch filter types, which will be perfectly at home there since the healthy socket selection dominating the right-hand side of its spacious control panel means it can comfortably be patched to work with other modular systems and analogue sequencers for added flexibility. Features like those, combined with a generous helping of modulation routing options, provide the Telemark V2 with an extraordinarily diverse range of sound possibilities, including leads, basses, effects, and percussion, as well as being able to be used as an effects processor thanks to its audio inputs (feeding audio signals directly into its mixer).

Another distinguishing feature of the Telemark V2 is its 100% analogue voice and modulation circuitry formed from discrete components. Nothing travels through digital circuitry here, so turning a knob directly affects the associated analogue circuitry to produce a characteristic sound straight from the Seventies/early-Eighties — albeit reliant on today’s reliable technology!

Improvements to Telemark V2 over and above the original version of the instrument include adding an octave divider (SUB-VCO/DIVIDER) — for creating a fuller, fatter sound or for use as a clock divider designed to be a source of lower frequencies (particularly suited to rhythmical usage) — and a ring modulator (RING MOD), typically used for fashioning metallic-type sounds (although it has other uses).

Little wonder, then, that the original Telemark and now its V2 successor are so sought after by those in the know. Chances are the characteristic sounds of Phil Oakey’s new and improved Telemark V2 — in limited-edition black, no less! — could well be being heard on some more memorable musical moments from The Human League in the not too distant future. We wish them well.


Telemark V2 is available to order online directly from Analogue Solutions (http://www.analoguesolutions.org.uk/concussor/telemark.htm) for £749.00 GBP (excluding VAT and delivery) or through one of their dealers. Alternatively, the keyboard- equipped Telemark-k V2 is available for £1,099.00 GBP (excluding VAT and delivery).

See and hear the Telemark V2 in action here: http://www.youtube.com/watch?v=xf7l-PHe2VY:

Analogue Solutions Telemark Synthesizer V2.0 + Eurorack AS Spring Reverb Module


Previously posted here.

Synth Jams by Jay Hosking

Published on Jul 26, 2019 Jay Hosking

Spotted the first video in the playlist above on discchord.com. The Playlist contains 21 videos. You can use the player controls to skip around. Descriptions for each are below. All videos feature various gear so you should be able to get an idea of some of the capabilities of each featured. You can check out Jay Hosking's music at https://jayhosking.bandcamp.com/.

Note, more will likely get added over time. The following playlist is as of this post:

1. Jam w/ Vermona PERfourMER MkII, Elektron Analog Rytm MkII, OTO Bam, Styrmon Big Sky, Fugue Machine

A live, semi-improvised performance, all on hardware, and inspired by some pretty tough news that has me sentimental.

I loved the Elektron Analog Four MkII so much that I picked up the Analog Rytm MkII. My feelings on the Rytm are mixed. On the one hand, it's missing that spontaneity and spark of units like the Arturia DrumBrute Impact and Teenage Engineering OP-Z, with no readymade performance effects, roller bar, or global randomization, and a slower workflow. On the other hand, I really like its analogue sound engines, any unused tracks can be converted into impressive analogue mono synths, it does beautiful things to samples, and like all Elektron boxes it integrates the effects into the sequencer really nicely.

As for the Vermona PERfourMER MkII, I'd been pining over it for ages, and it was fun to finally tinker with it. The Perfourmer definitely excels in the mid- and high- range, and I love how the independent voices making really interesting voices for chords.

Vermona PERfourMER MkII + OTO Bam — Three synths (left chord note, right chord note, melody)
Vermona PERfourMER MkII + Strymon Big Sky — Bass chord note synth
Elektron Analog Rytm MkII — Drums, samples, sample melody, punchy bass
Fugue Machine (iOS) — Sequencing
IK Multimedia iRig Pro Duo — MIDI out from iOS

Written and performed within a 24-hour period, and uploaded as is, with only a little sidechain compression on the Perfourmer (to emphasize the sound that the Rytm was already making), and compression/limiting on the master.

https://jayhosking.bandcamp.com/

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Phil Cirocco at the Buchla 100

Phil Cirocco at the Buchla 100 in high resolution

Published on Apr 25, 2012 Phil Cirocco

"This is the second installment of Phil Cirocco of CMS playing a large Buchla 100 system that he recently restored. This system contains the extremely rare and complex "Harmonic Generator Module". This module along with some other unusual modules, gives it a very beautiful and distinctive sound when coupled with the very effective method of control using the 2 touch keyboards. discretesynthesizers.com"

Phil Cirocco of CMS / Discrete Synthesizers playing a large Buchla 100 system

Published on Apr 25, 2012 Phil Cirocco

"Phil Cirocco of CMS playing a large Buchla 100 system that he recently restored. This system contains the extremely rare and complex 'Harmonic Generator Module'. This module along with some other unusual modules, gives it a very beautiful and distinctive sound when coupled with the very effective method of control using the 2 touch keyboards. A singular instrument considering this is the only Buchla system I have ever seen with a Harmonic Generator module in it. It actually reminds me of certain sound effects (not music) used on the original "Star Trek" series. The time and location of manufacture makes this a definite possibility. Please excuse the excessive noodling!"

Phil's Rev2 Jam-torials with the Sequential Rev2

Published on Mar 20, 2019 Phil's Rev2 Jam-torials

Playlist:

1. Episode 1: Some Percussive Exploration on the Prophet Rev2

Foolin around with some percussive patching on the Rev2.

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Firmware update to Plan B Model 28 demonstration - external sync

video upload by Peter Grenader

Published on Jan 28, 2013 Peter Grenader·13 videos

"The following is a (rather shaky camera rendering - sorry!) video outlining improvements authored by Phil Gallo to the functionality of the external syncing of the Plan Model 28 Tap Clock in 2010. This video is in response to another video uploaded to youtube (search Model 28 Slop Clock) which highlighted the deficiencies in the initial firmware release.

A comparison was made on that initial video which successfully highlights the Model 28's syncing issues, although it did this through a comparison to a module with completely different functionality - the Analogue Solutions MC01. The MC01 is a Master Clock which divides a signal to attain musical intervals of time from that. The Model 28 however is an upscaler - it takes two input signals, determines the length of time between those two events, replicates that frequency (quarter notes) and as well calculates twice that frequency (eight notes) and three times that frequency (eight note triplets). The technicalities of these two approaches are vastly different. This is not to say that the Model 28 didn't have issues initially with syncing nor to say the MC01 is any lesser for what it does - they just do completely different things. It does point to the fact that the MC01 is not adequate to the purpose of the comparison. In all fairness to the individual who posted this first video, no module has attempted what the M28 does, before or since.

In 2010, after receiving comments that both Phil Gallo (firmware) and I (hardware) were in complete agreement with, Phil Gallo undertook the rather daunting task of effecting improvement, which he did remarkably. After extensive beta testing by Tim Stichcombe and Don Kim, the result of Phil's recoding was the firmware upgrade, which is free and can be acquired by writing me at petergrenader@gmail.com.

Over 300 M28's were produced, 40-50 of which had this upgraded firmware.

The enhancement require that the external input be inverted so it becomes low active as opposed to high active. This can be done by a multiple of options - many manufacturers produce inverters of one type of another. In short, the input signal to be synced must be inverted 180 degrees out of phase. This slight inconvenience is essential for the M28 to sync properly. The net result is not spot on perfect and outputs a very slight flam from the original signal, yet still a vast improvement over the initial release. Without going into the technicalities involved which run deep, I will say there are few people outside of Phil Gallo currently involved in the design of analog/digital modular gear who could have successfully accomplished what he did. It's remarkable.

But you be the judge, please - watch the video, contact me for the free upgrade... and have a great day."

Formula Filter Array 24

Update: be sure to check out the comments for more. This was actually made by Bob Moog.

Title link takes you to shots, including some of the inside, via this auction.

"This auction is for one vintage Formula Sound Multiple Resonance Filter Array. This is a USA-made fixed filterbank / string filter from the 1970s that was (according to the engraved faceplate) custom made for San Francisco musician and producer Patrick Gleeson. Gleeson made some excellent albums on his own, but was better known as a session musician and producer/engineer who worked with artists as diverse and influential as Herbie Hancock and Devo. Though this model was advertised by Formula Sound in some magazines back in the 70s (see picture), this is the only actual unit I have ever seen or heard of. Since the faceplate says it was custom made for Gleeson, I believe it is the only one in existence. In theory it is similar to Moog String Filter but with greatly expanded and more tweakable facilities, but generally it excels at allowing you to electronically simulate the natural resonances of an acoustic chamber (like a violin or other stringed instrument).
This is also presumably somewhat of an inspiration for the Moog MURF pedal, as they seem to have taken the name from this unit (MURF stands for MUltiple Resonance Filter). Unit runs on 110V voltage and comes with a standard IEC power cord.

This piece is generally in very good cosmetic and functional condition, but has a few warts that I will be more explicit about in the following paragraph. All of the functions should be fairly self-explanatory... a mono signal goes to the input of the unit and is fed through 24 steep bandpass filters at various fixed frequencies, each of which can be assigned to one or both of the output channels via bus switches on the front panel. When all the sliders are down the unit is fully attenuated (silent).... as various frequency sliders are raised, that frequency becomes audible. There is a resonance shift rotary switch that allows you to change the overall harmonic tone of the selected frequencies and a drive knob which seems to have a compressor circuit built-in and sounds more like a tone control than a harmonic clipper.
In addition, there is a rotary switch that selects the overall mode---bypass (dry signal only), direct (unit engaged, frequencies sent directly to selected output bus), x-fade and x-pan (both similar in theory but different sounding). There are also 1/4" jacks for CV (control voltage) access so that you can integrate it into your modular system... one is a VCA input jack and the other is a modulation output jack that allows you to send the internal modulation LFO out to external equipment for coordinating sweep times. This is a very full featured unit that allows you to radically alter a sound, though it sounds very different and in a lot of ways a lot less radical than a standard lowpass filter.

Everything generally works as expected with a few exceptions, so I'll be pretty explicit here about everything that isn't quite perfect.
---The Drive pot is very scratchy.
---The Resonance Shift rotary switch is very loud and emits a loud thump through the outputs when switching, though this seems to be more by design than by a defective switch.
---The output Bus Selector switch for the 372 Hz frequency is wobbly and doesn't click into place like the others but it selects the output bus just fine.
---In Direct mode, in which is acts as a standard fixed filter bank, the B output bus is noticably quieter (about 15 db or so) than the A output when all frequencies are assigned to both buses. The overall volume difference, however, seems to depend on the drive level, input level and resonance shift amount. At certain settings the output levels are much closer to each other, though. I overcame this by running the 2 outputs into different hard-panned mono channels on my mixer and using the input gain pot to make up the difference.
---In X-fade mode it is the same as Direct mode---one channel is louder than the other. This is very noticable when using the 2 hard-panned mixer channel trick that is described above.
---In X-pan mode the output channels are pretty much equal volume and this mode sounds very similar to the X-fade mode, so I just used this mode instead.
---The front panels is very clean but there are numerous scratches and wear on the top, bottom and sides of the unit. There are some small paint marks that someone added to the selector switches and on one of the frequency slider caps.

This thing is built like a tank. All of the frequency sliders have very attractive machined aluminum tips. It does have some wear, but looks very good both inside and out, especially for a 30-plus year old unit. I've owned it for close to 10 years and I just had it serviced by analog guru Phil Cirocco in fall 2006 to fix a dead output channel. Though I don't have any schematics for the unit, any competent tech should be able to service it as the filter cards are modular (12, with 2 frequencies per channel) and all of the other stuff (VCAs, etc) are on breadboards and the circuits are clear and easily traceable. As you can see by the high quality parts and tons of circuitry, building something like this at today's prices would cost many, many thousands of dollars."

ARP 2600 SYNTHESIZER w/ 3604 KEYBOARD GREY MEANIE

via this auction
"Original owner selling his long time friend...
In 1973 J.B. Shurtleff went to Massachusetts to obtain an ARP 2600 from the factory. At the time ARPs were going for about $2600, that was real money in those days. JB asked the folks in the factory if there were any used ARPs for sale, they said no, but they knew of one they had sold to a music store in East Newton.
JB jumped in his car and sped over to the music store where he verbally used magic on the storeowner, telling him he would have that thing sitting there another two years collecting dust, so why didn't he sell it to him for a more affordable price, which he did. The serial number on the keyboard is 11002, so this might be the second grey meanie built and was probably built in 1971. JB's live ARP performances with his band where they knocked the plates off the wall at Paradise Corners Cafe with much fanfare and spl are retired now, and JB was slightly disappointed that he didn't reach a level of notoriety similar to Ozzie Osbourne. Just the same, this grey meanie ARP needs the doctor Phil Cirocco of CMS systems to go over it and bring it to factory specs. Being a member of the band, I have agreed to try to sell it for JB, we are selling it "AS IS".

After acquiring the machine, JB stayed in Massachusetts for a few months. He lived in a stable under a barn where he played with the ARP and where he found a branding iron with his name on it. As you can see in the pictures, he branded the back side of the hardwood machine handle, and the underside of the keyboard handle.
When JB got the machine back to California, after he played his way across the country, he put "lift and rotate" sticker over the logo, and a "rockola" jukebox sticker over the 3604 keyboard logo. In those days mystery pervaded the air around synthesizers. JB did not want lookers on to know what planet this weird sounding machine came from.

Service history, rebuilt ADSR 1975, replaced sliders with broken stems several times. The grey meanies were easily damaged when moving to different locations. Alan Pearlman evidently had a vision the meanie machines would be sitting in a University environment, safe from damage instead of knocking around in small esoteric nightclubs, sometimes moving from state to state.

Sample and hold module replaced, ocillator three module replaced, all modules acquired from CMS. Power supply rebuilt, (new caps, etc.)

All old parts in bags, including the black potted modules that have been replaced are included.

All sliders are intact, all black buttons are in a bag, most of the little black caps that cover the trim pots are in a bag.

5 patchcords included, the keyboard attaches to the console at both ends unlike later ARPs and two sets of jones-cinch connector cables are provided, new jones-cinch connectors installed (male and female), original owners manual, original technical manual, original 100 patch book with JB's personal patches included. Note finger wear on keyboard faceplate below low D, some finger wear on face panel under upper filter slider.

The magic of the 3604 keyboard is the tunable option. The player can tune the keyboard to any key, making it possible to only play the white keys.

All oscillators work, pre lawsuit ladder filter works perfectly, machine plays but needs alignment and treatment by Phil Cirocco at CMS

JB made a big mistake in taking the machine to a guy in California in 2000. He did something to the keyboard that needs looking at. The keys require more pressure than they should, slowing the action. Phil is the best, don't waste your time elsewhere."

The Beginnings of the Arp Quadra?

I love finding jems like this. This came in on a Vintage Synth thread on The Weather Report and Zawinul's use of the Quadra. Apparently he was the first to ever use one (probably not counting ARP of course).

"Speaking of the Quadra, did you know that Zawinul was the first artist to ever use
a Quadra? well, now you know it.

Quote from an article on Zawinul & the Quadra appearing in the June '79 issue of the Arpeggio newsletter:

"With the help of Alan Howarth* (Joe's keyboard tech between 1977-1979), then working as sales manager for Arp, Joe got his first look at the Quadra in 'August of 1978 when the original prototype was bought to L.A. for his evaluation. A few months later, Joe received the 1st test-run Quadra for use in a Weather Report concert in Havanna, Cuba"

Zawinul (commenting on the Quadra):

"It's got such a big and full sound" ...
"an excellent bass sound"

* the same Alan Howarth who a year or so later would find himself working with composer/director John Carpenter on soundtracks like "Escape From New Yourk" (late '80) Halloween II ('81) Halloween III ('82) etc."

"More Quadra info:

The original idea to build the Quadra came from a friend of mine, the owner of Pi Keyboards in Cleveland, Dave Yost. Sometime late 1976, Dave devised a circuit that allowed him to control an Arp 2600 from an Omni keyboard. The Arp factory rep came by the store and saw the keyboards, and was blown away by what Dave had done. A week later, we got a call from Phil Dodds, in product development at Arp, who wanted to know more about what Dave had done. (The same Phil Dodds who played the 2500 in Close Encounters). Dave sent a copy of the schematic to Phil, and the Quadra was born. Months later, at the July '77 NAMM in Atlanta, Dave was introduced as the "father of the Quadra", when the Quadra was introduced at the show.

I bought one of the first Quadras about that time and it was heavily modified by myself with the guidance of Dave when I worked at his store. It was lost in a fire in the 80's, (along with a Prophet 5), and I sure wish I still had that today.

Dave also did work with Wendy Carlos on her Moog Modular, including a just intonation module which was custom built at Pi in Cleveland."

EMS SYNTHI HI-FLI PROTOTYPE 1 of 10 *Serviced* David Gilmour Guitar Synth

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

via this auction

"A very rare prototype Synthi Hi-Fli, dating from 1972, in excellent condition following a full overhaul by EMS earlier this year.
One of only ten pre-production units made in 1972. David Gilmour reputedly still owns two of them…

Ultra-rare prototype EMS Synthi Hi-Fli – this is a knob-twiddler’s dream of an effect and the ultimate in hens’ teeth: your guitar will never sound the same again.

Different sound and spec to a standard Hi-Fli – this is the second such unit we’ve had and it broke my heart to sell the last one (I’ve been a committed HiFli nut since I bought my first one many years ago and have always had at least one in the studio ever since).

The prototypes don’t have the growl function, which was introduced about 18 months later. Production Hi-Flis all have the Buzz switch, but only the first ten prototypes had the Fuzz switch, which adds some interesting colouration to the up and down-octave sounds.

Ten production prototype Hi-Flis were made in 1972 but a redesign quickly followed the launch at the Frankfurt Fair to try to reduce the factory cost (the prototype design is not especially ergonomic for a guitar player to use – you have to lean back somewhat to access the pedals underneath the main unit). This original design features a removable aluminium pole which plugs into the underside of the main console and the top of the base unit, acting both as a stand and a conduit for power and signal connections (pole not included with this unit). The heavy-duty nylon-dipped base houses the power supply and sturdy twin pedals.

Dave Gilmour of Pink Floyd is reputed to still have two of these original units, which, according to Phil Taylor were first used for the Dark Side of The Moon tour that started in May 1973 at Earls Court. Opinion is divided as to whether a Hi-Fli featured on the DSOTM recordings: I can only say that it certainly sounds like it did.
Number one in Analogman Tom’s list of rare guitar effects from his excellent book.
Used by David Gilmour – see this Gilmourish blog for further details – he bought a prototype in 1972 and from what he recalls it was “very, very expensive”; Gilmourish also suggest it was used during the recording of Dark Side Of The Moon

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MOOG SOUND LAB Season 2: Megafaun

MOOG SOUND LAB Season 2: Megafaun - Hope You Know

YouTube Uploaded by MoogMusicInc on Feb 1, 2012
YouTube Re-Uploaded by MoogMusicInc on Mar 7, 2012

"Megafaun Came By The Moog Sound Lab To Perform a Mooged-Out Version of "Hope You Know" From Their Self-Titled LP."

"Shortly after Moogfest 2011, Durham, North Carolina based Megafaun came to the Moog Sound Lab to perform "Hope You Know" off their 2011 self-titled LP.

Brothers Brad and Phil Cook swapped their usual roles with Phil laying down vocals and playing strings while Brad took over for Phil playing keys.

Phil Cook takes full advantage of the Full Sustain mode on the Moog lap steel allowing him, with minimal plucking, to create a haunting sonic landscape.

Brad Cook masterfully uses a Minimoog Voyager to MIDI control Moog's iPad based synthesizer Animoog, enabling him to play polyphonically as he weaves rich melodic chords throughout the song.


Nick Sanborn uses the Little Phatty to provide the song's bass line, filling and enriching the sound with the MF-104Z Analog Delay.

Joe Westerlund uses a Trap-Kat drum pad run through a MF-104Z Analog Delay to MIDI control three Rack Mount Voyagers configured to create ghostly percussive sounds.

See more of the sound lab series at http://www.moogmusic.com/sight-and-sound/sound_lab/"


MOOG SOUND LAB Season 2: Megafaun - State/Meant


"Durham, North Carolina based Megafaun came into the Moog factory shortly after Moogfest 2011 to re-imagine "State/Ment" off their 2011 self titled album Megafaun. Here's the gear they used for their Sound Lab experiment:

Brad Cook (guitars) provides vocals for the song whileplaying Moog Guitar in full sustain mode.

Brad's brother Phil Cook (keys) uses a Minimoog Voyager to MIDI control Moog's iPad app Animoog.

New addition to the band, bass player Nick Sanborn, uses the Little Phatty run through a MF-105M MIDI MuRF and a MF-104Z Analog Delay to create the song's prevailing rhythmic pattern.

Drummer Joe Westerlund uses three Voyager Rack Mounts controlled via the Trap-Kat to create the backing percussion in this song.

See more of the sound lab series at http://www.moogmusic.com/sight-and-sound/sound_lab/"

Cherry Audio Releases Pro Soloist Synthesizer

video upload by Cherry Audio

The British Stereo Collective - "Ghosts in the Machine," featuring Cherry Audio's Pro Soloist

video upload by Cherry Audio

""Ghosts in the Machine" by The British Stereo Collective. ALL sounds (including percussion) were played by hand exclusively on Cherry Audio's Pro Soloist virtual instrument. No other synths were used in this recording.

Composer, artist, and producer Phil Heeks of The British Stereo Collective draws his inspiration from classic 70s/80s TV theme compilations, film soundtracks, and sound effects LPs of the era. Read more about Phil's various projects and links to his work at https://cherryaudio.com/videos/excerp..."

Introduction to Cherry Audio's Pro Soloist - Hosted by Tim Shoebridge

video upload by Cherry Audio

"To get users up and running with Pro Soloist, Cherry Audio and Tim Shoebridge of Sound Mangling have again teamed up to create an introductory tutorial video walking users through the extensive features of this iconic virtual synthesizer instrument."

Cherry Audio Pro Soloist: A detailed demo/tutorial of a prog rock and 1970s classic

video upload by CatSynth TV

"We take a detailed look at the new Pro Soloist from Cherry Audio, a recreation of the ARP Pro Soloist that became in mainstay in 1970s prog rock as well as a featured instrument in funk, electronic music, and more. We look at the features from the original, including the front-panel "paddle" presets and the unique touch sensor effects. We then take a deep dive below the hood into the enhanced features for directly editing the individual modules and parameters of the underlying synthesizer architecture (including the resonators) and explore the onboard effects section. Finally, we look at a few of the factory presets, including banks from INHALT and Vintage Vibes by James Dyson.

This instrument was developed in collaboration with Mark Barton, who was also behind the Novochord and Solovox instruments that we at CatSynth have enjoyed.

To find out more, please visit cherryaudio.com

"Pro Soloist is the latest in Cherry Audio's roster of ultimate 'what if?'
virtual instruments. Featuring the precision crafted and circuit-modeled DSP designs of award-winning developer Mark Barton, Cherry Audio's Pro Soloist goes beyond emulating the treasured, preset-based monophonic analog synth originally released by ARP in 1972. Pro Soloist not only exactingly reproduces the expressive controls, 30 infamous presets, and the unique underlying architecture of this prog rock classic, it breaks it out of its cage by making it fully programmable and expanding it with full polyphony, splits and layers, a mod matrix, integrated studio-quality effects, and more."

00:00 Introduction
00:25 History of the Arp Pro Soloist
01:23 Overview of the Cherry Audio Pro Soloist
02:21 Original front-panel presets
08:35 Global controls
09:35 Touch Sensor Effects
16:00 Edit Mode
16:59 VCO
18:59 VCF
21:53 Resonator bank
23:53 Modulating the resonator bank with the mod matrix
26:45 Effects panel
34:46 Multi-layer mode
38:08 Factory Presets
42:18 Vintage Vibe expansion bank
43:44 Conclusion"

Press release follows.

"Cherry Audio releases the highly anticipated Pro Soloist, the latest in its growing line of authentic classic synth emulations. This Pro Soloist breaks out of its cage with fully programmability, expanded polyphony and dual layers, an arpeggiator, a mod matrix, studio-quality effects, and more.

PRESS RELEASE - November 21, 2023: Cherry Audio is thrilled to release the highly anticipated Pro Soloist, the latest in its growing line of authentic emulations of classic synthesizers. Featuring the precision-crafted and circuit-modeled DSP designs of esteemed developer Mark Barton, Pro Soloist goes far beyond reproducing the expressive controls, 30 presets, and the unique architecture of this 1972 classic. Most significantly, Cherry Audio breaks Pro Soloist out of its cage by making it fully programmable and expanding it with full polyphony, splits and layers, an arpeggiator, a mod matrix, integrated studio-quality effects, and more.

Early analog synthesizers were a mystery to most working musicians. In 1972, ARP Instruments released the Pro Soloist, one of the first commercially successful preset-based synthesizers. Pro Soloist featured a revolutionary electronic design and feature set, most notably its innovative "touch sensor" keyboard (now commonly known as aftertouch), where pressing a note harder introduces changes to the sound, allowing highly expressive playing. The Pro Soloist was a hit with acts as varied as Tangerine Dream, Gary Numan, Herbie Hancock, Styx, Prince, Parliament, and Vangelis. Perhaps best remembered was Tony Banks, who amplified the Pro Soloist's legendary presets in epic keyboard solos for the legendary band Genesis.

Cherry Audio has received countless requests to reproduce this oft-forgotten gem — one of those came from frequent collaborator Mark Barton (GX-80, Novachord + Solovox, Miniverse, and others). With unparalleled attention to detail, Mark has created an authentic reproduction of the analog signal path along with the 30 original presets, and together we have substantially expanded the Pro Soloist's capabilities. Cherry Audio has added a dual-layer voicing architecture, with 16 polyphonic voices per layer, that enables two different presets simultaneously, with independent panning for rich stereo timbres and complex sounds. Pro Soloist also includes a split keyboard mode and a brilliant “Last Note” option that effectively simulates polyphonic aftertouch using monophonic-aftertouch controllers.

Pro Soloist's distinctive three-panel interface makes clear that this is far more than a preset synth. Cherry Audio has precisely recreated the look and sounds of the original paddle presets in its main Performance mode panel. In Edit mode, we've exposed all of its unique analog synthesis architecture parameters, most notably, the fully-variable, five parallel bandpass filter "Resonator Bank," key to the Pro Soloist's realistic acoustic orchestra timbres. Additionally, we've revealed the LFO and ADSR/AR envelopes and elevated the sound design possibilities with a "Super Wave" oscillator and a robust six-slot modulation matrix. The Arp/FX panel rounds it out with a syncable arpeggiator and a dozen studio-quality effects for distortion, phaser, flanger/chorus, echo, and reverb.

In short, Cherry Audio has elevated the Pro Soloist from a bare-bones monophonic lead synth into a massive, polyphonic powerhouse beyond anything imagined 50 years ago.

Pro Soloist also features 450 presets created by an extraordinarily talented team of sound design veterans, including James Terris, INHALT, Drew Schlesinger, Huston Singletary, and Mark Barton. More captivating sounds are available in the Vintage Vibes Preset Pack (sold separately) by James Dyson. With additional touches such as Cherry Audio's acclaimed MIDI mapping functions, highly optimized DSP for optimal performance, and a visually immersive interface, Pro Soloist will satisfy both vintage synth aficionados and today's music producers.

A mint condition and serviced Pro Soloist can easily fetch $2,500 or more these days, and its unique architecture makes MIDI retrofits impossible. Cherry Audio is thrilled to introduce this virtual and expanded Pro Soloist at the jaw-dropping price of only $49 (list $69), obtainable now from cherryaudio.com and authorized resellers worldwide. Pro Soloist is also available as part of Cherry Audio's new and comprehensive Synth Stack 4 collection. This ultimate sonic package includes all 22 of Cherry Audio's virtual instruments to date at an unbelievably affordable price, on sale for a limited time.

Pro Soloist is available in AU, VST, VST3, AAX, and standalone formats for Windows (7 or above, including Windows 11) and macOS (10.13 and above), including native support for Apple Silicon. A free 30-day demo is available. Visit cherryaudio.com for additional product details, system requirements, videos, and an extensive collection of awe-inspiring sound demos."

CMS 1000 SERIES ARP 2500 Inspired Eurorack System

This one was spotted and sent in via Soviet Space Child.

Note CMS fully restored this vintage ARP 2500 posted back in 2007. Phil Cirocco of CMS / Discrete Synthesizers is an ARP specialist. See the CMS label for additional posts. via Discrete Synthesizers aka CMS

Left: "The photo shows a suggested arrangement of modules for a 12 module CMS Euro-Rack system. This is Phil Cirocco's personal machine.

UPDATED - 1/20/2023

1000 SERIES MODULE NEWS"

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Chroma Polaris Color Themes and Ad Scans

Via the excellent Rhodes Chroma site. You can find the color themes here and the Ad scans here. Note this image has the "Halloween" orange color theme.

Update: some notes via Robb Witt on the Chroma list:
"Regarding the color schemes on all panels manufactured before the original Woburn team departed Fender….

While it’s generally true that there are probably 3 or 4 major “families” of color schemes, it’s absolutely true that the number and variety of panels that could potentially exist out there is a bit larger. As the guy who made all of them, with the exception of the Blue production Polaris panels, and some later blue/green versions for the Chromas that were possibly made in Hoopeston, I can state with authority that we were constantly “tweaking” both the colors themselves as well as the color layouts. We’d mix up a batch of “earth toned” ink and print up a half dozen panels… and then the next week do a different run to see if Shykun liked it more. I also dimly recall doing a couple of “special runs” for people at the shop (Mark Smith I think, and maybe Mike Shea) That was the benefit of having a full blown production shop at the dev facility. In general I think the story is something like this:

1 - The original layout was done (I think) by Warren Ames, who also designed the switch panel underlays. The colors on these were probably derived from the colors Arp was using on the Quadra, at least that’s the only blue/green color combination we used at Arp that I can think of. We probably made a minor adjustment or two to the panel labels before we went into pre-production. I’m pretty sure I manufactured the original display prototype that we used at Arp (all the original publicity photos), and am positive that I manufactured all the “first 50” panels, as well as those used for demos, in-house, spares, production, and the like. This is the layout that should, I think, be considered the standard “production” layout and color scheme. I am relatively sure that all panels using this scheme were manufactured at the Cummings Park R&D facility in Woburn that we set up when we exited Arp. The only reason I say “relatively” is that I heard a rumor years ago that after I left Fender (about the same time Phil, Bob Hartford, and a number of others left) the guys in Hoopeston decided to outsource making the panels for production. That may or may not have happened, I can’t say.

2- so-called “Halloween” units. (BTW, the first time I ever heard this term used was here. We never called them that at Fender, regardless of what Phil D. apparently reported). As has been noted elsewhere, we started fooling around with the Chroma color scheme while we were designing the Polaris in response to a request by John Shykun. After more or less settling on a color scheme for the Polaris, we decided we’d similarly “retrofit” the Chroma. So as Mark Smith has commented, the idea was to switch the Chroma production over to the new scheme when we released the Polaris. (I was gone by the time that finally happened, so can’t tell the story on how/why those plans were changed, as they obviously were). Once we decided to do that we tried to “fix” a couple of other problems that folks had reported with the original layout. So that’s the reason the position of the numbers in the parameter boxes was changed (moved up), and the descriptors changed from black on a colored ground to white on a black ground. (We’d been told, and duplicated via experiment, that under certain combinations of stagelighting the original labels more or less “vanished”. That obviously made programming on the fly even harder that it normally was, and it was easy enough to fix…). With the new layout in hand, as well as a new switch layout underneath (again courtesy of Warren Ames), any number of variously colored “non-standard” panels were fabricated. My fairly faulty memory says that Mark Smith and I both had Chroma’s with this color scheme, and I’m pretty sure I would have given any of the in-house tech’s who asked (Mike Shea for example) a set. Then of course there were our in-house demo units (Chroma and Expander), as well as Herbie Hancock’s units. We may also have sent some panels out to particularly “friendly” customers or shops. I’m not sure. I guess my point is that there could be a 3 or 4 more of these lurking around out there, as well as any number of replacement panels. (As for my old unit, which had no serial number… I’d love to know if it ever surfaced. I sold it in ’91 to someone in Colorado I think. A much regretted action.)

As far as the gold-toned set goes; Mark Smith might recall that I made a special “gold and black” switch panel for the 82 key “Grand” version of the Arp electric piano that we had. (The case had a top that opened to a sort of faux Steinway look. Boy I’d love to know where that ended up!). I don’t have a specific memory of doing the gold Chroma panels that Mark had, but it’s obviously something we would have easily done in our spare time. This group should not be astonished if another one-off color scheme crawls out of the woodwork at some point either.

Anyway, that’s what I know ‘bout that!

robb witt"

Smother - Luis Gispert, 2008

via Josh Kay (Phoenecia): "I just finished a soundtrack for a 26 minute film called Smother. I used my monster-case housed Euro-Rack modular and an Arp 2600 as the primary sound sources. These analogue synths were made for drones. There was plenty of post-processing involved, but not a single vsti."

Regarding the image:
"This is my system (the monster case on the left) mixed with Richard Devine's setup. That's the Arp I used on the soundtrack, it used to be mine. Actuality, Rich sold it to me many years ago and eventually I sold it back to him. Since then he's had Phil Cirocco (CMS) thoroughly baptize it (all options except the Moog ladder filter).

In my system, I'd have to say my favorites are the 2 Livewire AFG's the Frequensteiner, the Zeroscillator, the Bananlogue Serge VCS (I wish I had 3 of them), The Plan B model 10 and 24, the Doepfer BBD's (I do have 3 of them), and without a doubt, the MakeNoise QMMG. "

Smother - Luis Gispert, 2008 (Phoenecia's Alternate Score & Edit) from Josh Kay on Vimeo.

"Smother (Phoenecia's Alternate Score & Edit)
Directed by Luis Gispert
Score & Sound Design by Phoenecia (Joshua Kay & Romulo Del Castillo)

From the New York Times review:
"A boy lies on a trampoline, clutching a boombox to his chest. Gradually the blue tarpaulin turns a sickly green as he empties his bladder. “Smother,” a riveting new 26-minute film at Mary Boone Gallery by the New York artist Luis Gispert, explores the relationship between this 11-year-old chronic bed-wetter, also depicted in the photograph at right, and his domineering mother. Like “Stereomongrel,” Mr. Gispert’s 2005 film collaboration with Jeffrey Reed, it follows a precocious pre-adolescent’s odyssey through a perilous adult landscape - in this case 1980s Miami (where Mr. Gispert was raised).

“Smother,” which has a script by Mr. Gispert and the artist Orly Genger and a soundtrack by the experimental duo Phoenecia, is the throbbing, flamingo-pink heart of Mr. Gispert’s two-gallery show, at Mary Boone and Zach Feuer. With its tropical palette and episodic magical realism (which might be too real for some animal lovers), it can seem less like a film than a tenuously linked series of Mr. Gispert’s stills. Dialogue is sparse, and as melodramatic as a telenovela’s. The camera lingers over the spectacular stucco-mansion setting, which Mr. Gispert has aptly described as “narco-nouveau-riche.”

At Zach Feuer Gallery, a sculptural installation echoes the film’s lurid scenery. Photographs of truck interiors, racing-striped walls and high-gloss, heart-shaped speakers put forth a Miami version of the hot-rod-inspired art that emerged in 1960s Southern California. - Karen Rosenberg

Notes:
The alternate score & edit is a remixed version of Smother including parts that were omitted from the release version. An alternate reworked 20 minute version of Smother appears on Phoenecia's Echelon Mall, a collection of works for film & gallery exhibitions. Echelon Mall is scheduled for release in March on Schematic.

Links:
Mary Boone Gallery page:
maryboonegallery.com/exhibitions/2007-2008/gispert/index.html
Zach Feuer Gallery page:
zachfeuer.com/luisgispert_2008.html
New York Times review:
nytimes.com/2008/01/25/arts/design/25wart.html?_r=2&scp=1&sq=zach+feuer&st=nyt&oref=slogin
Artnet Magazine review:
artnet.com/magazineus/reviews/davis/davis2-15-08.asp
New York Sun review:
nysun.com/arts/dislocating-dreams/70863/
Phoenecia:
schematic.net & schematic.net/phoenecia"

Cherry Audio Introduces Virtual CR-78 Drum Machine

video upload by Cherry Audio

Introduction to Cherry Audio's CR-78 Drum Machine

video upload by Cherry Audio

"'I’ve had absolutely tons and tons of fun with this particular plug-in. I didn’t think I was going to enjoy it as much as I have. I’m not making it up. This is the most fun I’ve had with any plug-in I’ve ever played.'

Cherry Audio and Tim Shoebridge have again teamed up to create an extensive and entertaining video that introduces users to the classic CR-78 sounds and the new features of this tremendous virtual drum machine.

Get CR-78 today at https://cherryaudio.com/products/cr-78 for only $49!

Cherry Audio's CR-78 accurately recreates the punchy analog sounds and 34 onboard preset rhythms of the first true classic drum machine and takes it much further. We've done away with the complex beat programming, replaced it with a familiar X0X-style button-per-step interface, and added an easy-to-use song mode for pattern chaining. Unlike sample-based emulations, Cherry Audio's CR-78 uses modeled synthesis to recreate the classic tones of the original and makes a quantum leap forward by making these sounds fully editable. Four studio-quality effects are provided, with a uniquely fast and fun "send button" for each individual tone in the effects and mixer section, which also includes a complete mixer, compressor, and a six-band graphic EQ.

For more details on how to get the most out of CR-78, try the free demo and check out the User Guide at https://docs.cherryaudio.com/cherry-a...

00:00 - Introduction
01:14 - Overview - The Panels
02:50 - The Main Panel: Factory Preset Buttons and Variations
05:10 - Other Variation Options
09:55 - "Pop Quiz 1!"
12:34 - Programming Patterns
16:58 - Programming Songs
18:59 - "Pop Quiz 2!"
21:46 - Voice Edit Panel
26:26 - "Pop Quiz 3!"
27:15 - DAW Tools and Drag-Export
29:08 - Multi-Outs DAW Option
31:08 - Mixer/Effects Panel
33:18 - Melodic Tones
35:28 - "Pop Quiz Final!"
37:41 - Final Thoughts
40:20 - Outro Track"

Cherry Audio CR 78: A demo and tutorial of a class rhythm machine
video upload by CatSynth TV

"We take a detailed look at the new CR-78 from Cherry Audio, a recreation of the legendary Roland CR-78 "CompuRhythm". With its distinctive analog drum sounds and ability to program one's own rhythms in addition to the 34 presets, the CR-78 made the jump from the top shelf of home electric organs to mainstream pop music in the late 1970s and early 1980s, and set the stage for Roland's later drum machine line. Cherry Audio's version faithfully reproduces the sounds and rhythms of the original, along with some new features to expand it's possibilities an integrate into modern digital studios.


00:00 Introduction
00:23 History of the CR-78
00:57 Overview and preset rhythms
05:11 Additional rhythm controls (fade, cancel, variation, swing)
10:52 Mixer panel
12:35 Voice Edit panel (modify drum sounds)
15:19 Creating user patterns
19:54 Song mode
22:00 Effects
26:17 Factory Presets
30:20 Conclusion"

Please consider supporting this channel to help us bring you more synthesizer tutorials and other content.
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via Cherry Audio

CR-78 -- Cherry Audio's first virtual drum machine -- accurately recreates the punchy analog sounds and 34 onboard preset rhythms of the first true classic drum machine and takes it much further. We've done away with the complex beat programming, replaced it with a familiar X0X-style button-per-step interface, and added an easy-to-use song mode for pattern chaining. Unlike sample-based emulations, Cherry Audio's CR-78 uses modeled synthesis to recreate the classic tones of the original and makes a quantum leap forward by making these sounds fully editable. Four studio-quality effects are provided, with a uniquely fast and fun "send button" for each individual tone in the effects and mixer section, which also includes a complete mixer, compressor, and a six-band graphic EQ.

In 1978, following the success of their AceTone electronic rhythm products, Roland introduced a not-so-little box that made a massive impact. Coming from a legacy of preset-based devices intended to sit atop an organ, the CompuRhythm CR-78 was entirely new: the first programmable, microprocessor-controlled, analog beatbox.

With its colorful buttons for pattern presets, distinctive analog tones, and basic pattern programming, the CR-78 was the first drum machine as we know it. Pro musicians such as Blondie, Ultravox, Phil Collins and Genesis, Orchestral Manoeuvres in the Dark, Roxy Music, The Cars, Hall and Oates, and many others immediately embraced and immortalized this revolutionary gear.

Waiting for this Moment

For years, musicians have requested a virtual drum machine such as this, and in Cherry Audio fashion, we've delivered it with so much more.

Cherry Audio's CR-78 is a visionary virtual drum machine that re-envisions the original by meticulously recreating and extending its distinctive sounds and beats with new programmability features, and adds over 250 additional presets that take it from mild to wild.

Pattern creation has been simplified with X0X-style 16- or 24-step sequencing, copy-and-paste, and real-time entry using trigger, keyboard, or MIDI device. CR-78 also includes an expansive song mode for chaining up to 99 patterns. All of the original variations for fills, accents, voice cancel, and fades are present, along with new swing and velocity options.

Cherry Audio's CR-78 can be played standalone and includes versatile plug-in options loaded with such DAW-friendly features as auto-sync, drag-and-drop MIDI export, individual outs, and complete automation.

Unlike sample-based instruments, Cherry Audio has emulated the original's tones through modeled synthesis, and a Voice Edit panel allows extensive instrument parameter editing, enabling a range of sonic and melodic possibilities far surpassing the original.

The innovative Effects/Mixer panel delivers discrete level, pan, mute/solo; studio-quality effects, including overdrive, flanger, delay, gated reverb with effects send buttons; and a master compressor and a six-band graphic EQ.

In short, Cherry Audio's CR-78 goes deep inside the box to provide the ultimate outside-of-the-box experience.

Cherry Audio and Tim Shoebridge have again teamed up to create an extensive and entertaining video that introduces users to the classic CR-78 sounds and the features of this tremendous virtual drum machine."

ARP 2600 with CMS Mods / Upgrades

images via this auction
"ARP 2600 semi-modular synthesizer, with full complement of CMS modifications and upgrades.

This auction includes the 2601 Console (s/n 26010788) and 3620 Keyboard Controller (s/n 36200788). Not only is this 2600 in outstanding cosmetic and functional condition, the numerous modifications and upgrades performed by Phil Cirocco at C.M.S./Discrete Synthesizers make this a truly phenomenal instrument. Here is a list of the work performed, with descriptions from the CMS web site:
AUDIO PATH UPGRADE PACKAGE
This mod replaces all gain stages in the 2600 console with audiophile grade components for crystal-clear highs and a deep low end, while still maintaining the distinctive character of the 2600. Upgraded sections include: lag processor, voltage processors, reverb stages, preamp, VCF mixer, output mixer, output buffers, etc. We also fix the annoying VCA thump. Noise in the reverb section is reduced by 35%. Filter headroom is increased by a factor of 2! Stability and sound improvement guaranteed. Later model 2600s (almost all wood / tolex 2600s) use inferior sounding gain stages that severely impede the true sound of your 2600. Earlier 2600's (Blue Marvins and Gray Meanies) use "high slew rate" chips that sound much clearer. Restore your 2600 back to the specs that the original ARP engineers intended! Don't be fooled by imitations from "noob techs" or DIY attempts. If the Audio Path Upgrade is not performed correctly, it can become unstable and lead to high frequency self oscillation of all the amplifier sections!

MOOG STYLE FILTER MODULE - 4012cx
The 4012 filter was used from 1971 (blue Marvin) to the middle of 1976. If your 2600 is a gray face, It probably utilizes the 4012 module. The 4012 is a ladder type filter using discrete transistors. The original 4012 made by ARP is prone to instability. The 4012 replacement filter by CMS is guaranteed stable yet uses the exact circuit that ARP used. Better quality components and personal attention to craftsmanship yield a filter of superior sonic characteristics! See the Sub-module section for more info.

VCA MODULE UPGRADE - (4019)
If your VCA module is unencapsulated, we can give it crystal clear highs and a deep low end. Also provides lower distortion and a faster slew-rate. If you have an encapsulated ARP VCA, this upgrade is not available, but improved unencapsulated replacement modules are available, see submodules page, model 4019cx.

POWER SUPPLY UPGRADE
The power supply in your 2600 is about 20 to 30 years old. Chances are that your power supply is not up to spec. This can result in excessive noise, ripple, and instability. This mod replaces your unit with a high power, highly stable, military spec power unit with remote sense regulation. The overall sound quality and oscillator purity are noticeably improved. Rebuilt ARP units are available for 125.00 (50.00 core charge).

17 INCH REVERB TANK
Ever wonder why later model 2600s have such a lame reverb. Later model 2600s use smaller reverb tanks with a shorter delay time than earlier 2600s made by ARP. The only reason I can find for this change is economic. Our brand new reverb tanks use 6 springs, counter wound and placed in parallel for a rich, full sound. This mod restores your reverb sound back to the original "Blue Marvin / Gray Meanie" configuration.

1/4 INCH LINE LEVEL JACKS
Professionally installed 1/4 inch Switchcraft jacks at line level (designed to interface with your studio mixer etc.) on both main outputs, VCA output, and preamp input. 4 jacks total.

SYNC SWITCHES
Two independent miniature toggle switches that sync vco-2 to vco-1, and vco-3 to vco-1 This setup enables dual sync (two separate harmonics) if desired.

ENVELOPE GENERATOR RANGE EXPANDER SWITCHES
Miniature toggle switches that provide 2 additional time ranges for the attack, decay and release time of the ADSR generator and the attack and decay time of the AR generator.

VARIABLE VCF KEYBOARD TRACKING
The filter tracking on a 2600 is fixed at 1v per octave. This is quite limiting especially if you are shooting for natural textures. This mod provides a miniature rotary potentiometer that adjusts the tracking ratio from 0 to 1v/octave

LED INDICATORS
providing visual feedback on both E.G. outputs (red), s/h clock (green) and envelope follower (yellow). Requires power supply upgrade.

24Db DUAL MODE FILTER - MODEL 2621
The one key element missing in a 2600 is a highpass filter with resonance and associated coupling circuitry. The CMS 2620 is a dual mode, 24Db (Lowpass/Highpass), discrete, transistor ladder filter from the CMS 9000 series modules, Installed in the left speaker section. This original CMS design features a beautiful "raspy" resonance. Complete with anodized face plate, high quality controls, 1/8 inch Switchcraft normalized patching. Special switch links both filters in your 2600 together for a truly remarkable sounding bandpass function (24Db x 24Db). The resonance on the highpass function is also very unique and distinctive. Requires power supply upgrade. Now comes with voltage controlled resonance.

VCO / 4 CHANNEL MIXER / INVERTER - MODEL 2627
Installed in the right speaker section, this VCO utilizes the same exact circuitry used in the other VCO's in your 2600 to assure exact tracking and pitch stability characteristics. All four waveforms are available as well as pulse width modulation. Low frequency mode and normalized patching are also provided. The mixer section serves as a high quality audio mixer with the inputs either normalized to all 4 outs of VCO-4 or externally patched. The mixer can also be used as a voltage summer or inverter. Requires power supply upgrade.
In addition, the following mods are present:
• The AR has been converted to an ADSR for even more CV potential;
• All three oscillators have been fitted with -1/0/+1 "octave" switches. This switch will transpose the oscillator by the amount predefined by the "Interval" pot (up to one octave)
• An additional set of multiples have been added in the lower left, now giving you 2 x 4 mults;
• Voltage Processor sections 2 & 3 have positive outputs available as well as the conventional negative;
• External trigger input for the Sample & Hold."

Yamaha DX7II FD TX802 SYNTHESIZER

via this auction

note the pull out. I know the TX81Z has one as well. I'm curious how many other Yamaha racks had them.

Details:
"The TX-802 is the rack mount version of the DX-7II with a few added touches. It is an FM synth, so it excellent at re-creating Hammond organ, electric pianos, brass, analog sounds, and bells. It is in a whole new class for percussive sounds and ethnic sounds as you can change the tuning and get out of the 12 tone box. It is not too good when it comes to, acoustic pianos, and saxophones, but that's why the gods made samplers. A required piece of gear in my opinion since the DX7 is such a legendary synth. There are thousands of patches available online for this synth (can take DX7 and DX7II patches).

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