PHILLIP WERREN - ELECTRONIC MUSIC 1968-71 (BUCHLA)

http://www.castexotic.com/werren.htm
"In 1971 Phillip Werren released a 4 Lp box through Simon Fraser University of his early Electronic Work which was recorded at S.F.U., McGill University & Radio Warzawa, Poland. Only 100 copies where ever made. A few years ago I discovered this record and was completly blown away. The Lp has heavy elements of tape collage, Modular Synthisis, voice, and experimental thought. Some of the pieces where conceived by psychedelic and occult influences. Much of the record was done with a Buchla 100 Series,the first of their modular synthesizers. I tracked down Phil in Toronto where's he's been living a number of years. Phil taught music composition and theory at York University in Toronto from 1977 to 1997,where he headed York's Electronic Music Studio.

The Album was created for the most part at the height of the late 60's at Simon Fraser University. "1968 was a year of great upheaval: at SFU, Canada's Berkeley, 114 people were arrested for their part in the protest over the firing of the entire faculty of the Political Science and Anthropology department. Marcuse, Baba Ram Dass and others came to speak to us at peril to themselves; acid and mescaline abounded and apocalypse seemed to fairly shout out at us in the rarified atmosphere of Burnaby Mountain. The neo-fascist architecture of the university seemed to beg for anarchy and chaos and linear thought itself seemed doomed to extinction."
"The electronic music studio at SFU was at that time probably the most sophisticated studio in Canada. After working in studios at Columbia and Radio Warsaw, both of which were small and somewhat limiting, I found it impossible to continue composing with the Princetonian precision in which I had been schooled. The SFU studio contained the most recent synthesizer designed by Don Buchla. I only vaguely understood what ÒitÓ did and realized that I would have to put aside my rigid preconceptions of how one sound should follow another. The sequencer, a device which can generate a sequence of sound events in a more-or-less random pattern and at times seemed to have a life of its own, became for me a sort-of window through which I could see/hear a universe of sound I had never imagined possible. It was necessary for me to Òstep backÓ from these sequences of sound-events, to control them in some other way: through the mix of one sequence with another in time and space."

This album is a nugget of Canadian Psychedelic Avant-Garde history, up there with the early works of Bill Bissett, The Nihilist Spasm Band, and Intersystems. Also in line with early America works by Robert Ashley, Tod Dockstader, and Gordon Mumma.

Phil and his Engineer friend Tony Crea have transfered the original tapes to digital and cleaned it all up for this CD reissue. Original artwork on the cover was created by local Vancouver Artist JAS Felter."

NAMM: Pacarana—Supercomputer for Sound

The Symbolic Sound Pacarana is here.
"Most powerful sound design workstation on the planet
That’s what Electronic Musician magazine calls the Kyma sound design environment. Future Music calls it the Holy Grail of sound design. Kyma's strength arises from its unique set of algorithms, the ease with which you can create endless combinations of those algorithms, and the unprecedented degree of real-time responsive control over the sound parameters.

You’ve already heard the sounds of Kyma in films like WALL•E, The Dark Knight, Master and Commander, Finding Nemo. And you've heard the interactive musical sounds of Kyma both on albums and in live sets by legendary musicians and producers like John Paul Jones, A.R. Rahman, Rich Costey, BT, and many others.

In 1990, Symbolic Sound revolutionized the sound design and music software industry with the introduction of Kyma, a graphical modular software sound design environment accelerated by the software-reconfigurable Capybara multi-processor sound computation engine. Symbolic Sound is committed to bringing the most advanced and flexible sound design technology to sound designers, musicians, educators, researchers, and creative professionals through its innovative hardware and software offerings.

What comes next?

A supercomputer designed for sound"

The flagship model Pacarana is 150% the power of a fully-loaded Capybara-320 for less than half the price. The entry-level Paca costs less than a Basic Capybara-320, but the new entry-level model is 5 times more powerful.

Falling in love with Kyma
What is it that people love about Kyma? For some people it’s having an unbounded environment for creating sounds that have never been heard before. Others cite outstanding technical support and the super-stability and reliability of the Kyma software during live performances. Still others rave about the continuous stream of free software updates full of new features and synthesis/processing algorithms. And everyone loves the legendary Kyma sound.

What’s the secret behind the ‘Kyma sound’? The secret is in the software. When you have a supercomputer dedicated entirely to capturing, processing, and synthesizing sound, you have the luxury of being able to do things right. We don’t cut corners, and you can hear the difference."


"On the back of the Pacarana—all the high-speed connectivity you want and need for digital audio production: two FireWire 800 ports, 2 USB ports, 100-base T Ethernet jack, and more…

A DC power plug connects the Pacarana to an external power supply that auto-senses voltage and frequency of the AC power source no matter where in the world you travel.

The Pacarana communicates with the Kyma X software running under Mac OS or Windows via FireWire 800 (IEEE1394B) or an 800-to-400 adapter cable.

Audio and MIDI input and output is handled via an external FireWire or USB converter or, for current Kyma owners, through a Capybara-320 with Flame FireWire I/O. Connect additional USB MIDI controllers like keyboards or fader boxes via the second USB port."

The above is just an excerpt. You can find more on the Symbolic Sound Pacarana website.

Update: the official press release came in at 4:33 PM:
"New Supercomputer for Sound:
Pacarana for Kyma Sound Design Environment

Champaign IL, January 12, 2009:
Musicians and sound designers for film, games and live electronic music now have a new supercomputer designed specifically for interactive sound exploration and live performance. The Pacarana and Paca are two new multiprocessor computers optimized for capturing, processing and synthesizing sound for the award-winning Kyma Sound Design Environment. Designed by Symbolic Sound Corporation to serve as a smaller, more affordable and more powerful replacement for the Capybara*320 sound computation engine, the new entry-level system is 5 times more powerful and costs $500 less than the older entry-level configuration. The power of the higher-end model exceeds that of a fully-loaded Capybara*320 but costs far less than half as much.

http://ssc-media.com/Pictures/Pacarana/Front%20(full%20res).JPG

http://ssc-media.com/Pictures/Pacarana/Nick%20Paca%20trimmed.jpg

Kyma, the Paca(rana), and backwards compatibility
Favored by sound designers for its unique set of algorithms, the ease with which one can create endless combinations of sound processing and synthesis algorithms, its reliability during live performances, and the responsiveness of real-time control over sound parameters, the Kyma sound design environment benefits from the new Paca(rana) platforms in the form of more polyphony, denser textures, faster loading times, more memory for live sampling and playback, enhanced portability, refinements in sound quality and the potential for future developments.

According to composer/performer and early adopter Phil Curtis of SoNu (http://www.sonusound.com):
I'm loving the new Pacarana. [M]ost of my old sounds just barely register on the meter, even sounds that just barely worked on the Capybara....I can already see that this is going to be a big leap in what I can do and paves the way for years of further development.

Sound designers who have been using Kyma X on the Capybara*320 can open and continue working on their current projects using the new hardware. Switching back and forth between the Capybara and the new hardware is completely transparent, and Symbolic Sound will continue to support Kyma X on the Capybara-320. Kyma users also have the option of keeping their Capybara*320 computer running alongside a new Pacarana, augmenting, rather than replacing, their current hardware.

Smaller, lighter, easily portable
With more sound designers going freelance, more musicians going on tour, and the airlines charging for each checked bag, Symbolic Sound decided to make the Pacarana and Paca small and light enough to fit into a backpack, laptop case or in a small rolling rack. The Pacarana footprint is the same as that of a MacBook Pro 15" (the Paca is about 3 inches shorter) and is 1 rack unit in height: ideal for live performances, working on the road, transporting from home studio to sound stage or from work to home.

Connectivity
On the back of the Paca(rana) are 2 USB ports, 2 FireWire 800 ports, and a DC power plug that connects to an external power supply brick (about the same size as the Mac Mini's power brick).
http://www.ssc-media.com/Pictures/Pacarana/Back%20(full%20res).JPG

The Paca and Pacarana communicate with the Kyma X software running under Mac OS or Windows via FireWire 800 (IEEE 1394B) or FireWire 400 (IEEE 1394A) using an 800-to-400 adapter cable.

Audio and MIDI input and output is handled by an external FireWire or USB converter or, for current Kyma owners, through a Capybara-320 with Flame FireWire I/O.

Additional USB MIDI controllers like keyboards or fader boxes can be connected via the second USB port.

More Audio and MIDI Input/Output options
Symbolic Sound decided to decouple the sound conversion from the sound computation functions in order to give customers more options for customizing their studio and mobile setups. Customers can now select from among a full range of high-quality third-party 1394TA AMDTP-standard FireWire and class-compliant USB audio converter devices available in nearly every size and price range. The growing list of qualified third-party converters includes the TC Electronic Konnekt series, the MOTU UltraLite-mk3, the Apogee Duet, and, on the USB side, the M-Audio Fast Track Pro and Logitech and Sennheiser USB headsets.

The Kyma Sound
Early reports from alpha and beta testers confirm that the sound quality of the Pacarana matches and, in some cases, surpasses that of its predecessor.

"People tell me that Kyma has an excellent word-of-mouth reputation for audio quality, and they usually attribute the quality to the Capybara*320 converters," says company president Carla Scaletti. "While it's true that the Capybara converters are excellent, the real secret to high-quality audio is in the algorithms. When you have a computer entirely dedicated to computing sound, you don't have to cut corners; we don't have to share our sound computer with a CPU-hungry operating system or a graphics subsystem; all Paca and Pacarana cycles are dedicated to computing high quality sound."

Live Control
You can use any USB or FireWire MIDI device or software for controlling sound parameters on the Paca(rana). Symbolic Sound has been working closely with Haken Audio (http://www.hakenaudio.com) to create seamless plug-and-play operation with the new MIDI-based Continuum fingerboard. Additional controllers with a high degree of Kyma integration include the Wacom tablet, the MotorMix, and the controllers supported by Camille Troillard's OSCulator (http://www.osculator.net) software, including the Nintendo Wiimote, the Jazz Mutant Lemur, the Logitech Space Navigator, and others.

Backpacking
The Paca(rana) fits perfectly into the hard-shell laptop sleeves made by Tom Bihn (http://www.tombihn.com) and Symbolic Sound is making the Tom Bihn Brain Cell sleeve and Brain Bag backpack available with the purchase of a Paca or Pacarana for hands-free transport of your laptop, Pacarana and other mobile audio gear.

Price and availability
Symbolic Sound is now shipping both the Paca and the Pacarana. The entry-level Paca is available for US $2970 and the professional studio model Pacarana is available for US $4402. To place an order, please visit http://www.symbolicsound.com or send email to info-kyma@symbolicsound.com

Summary
A lower entry-level price, a smaller footprint, and a whole lot of extra horsepower make Kyma X + Paca(rana) a supercomputer for sound designers and musicians!

Background
Symbolic Sound first revolutionized the sound design and music software industry in 1990 with the introduction of Kyma, a graphical modular software sound design environment accelerated by the software-reconfigurable Capybara multi-processor sound computation engine. The Paca(rana) is the fifth in a series of increasingly powerful sound computation engines designed and produced by Symbolic Sound to work in conjunction with the Kyma sound design environment (now in its sixth major release, not counting the hundreds of free updates between each major release). Symbolic Sound is committed to bringing the most advanced and flexible sound design technology to sound designers, musicians, educators, researchers, game developers, and other creative professionals through its innovative hardware and software offerings.

Symbolic Sound, the Symbolic Sound logo, Kyma, Pacarana, Paca, and Capybara and their logos are trademarks of Symbolic Sound Corporation. Other company and product names may be trademarks of their respective owners."

EMS Synthi AKS Just Serviced at CMS by Phil Ciccerro

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

via this auction

Interesting side view of the Synthi.

"EMS SYNTHI AKS. Recently serviced by Phil Ciccerro at CMS Discrete Synths. Had over $1400 work done. I did all the work he recommended. I am also including the briefcase. Its larger than the original, with plenty of customizable space for ext speakers, sub, patch bay, accessories, etc

The speakers are not installed, but the power amp for the speakers come through the custom 1/4' output jacks. I have tried them with various speakers. They drive pretty loudly.

There is one pot that spins, and probably needs replacement, (its a common pot. I need to skeak with Phil, because there are a few small issues, like the pot, and the Right input (for prossesing external signals like Todd rundregren used for guitar etc, doesn't seem to get the hi Z signal. It could be made really nice, with some silk screen refurb on the panel. I also have the keyboard on a separate listing. The last time I checked on another Synthi (Squids Aks) it worked, so im confident it works fine. I don't have the jack to try it. Also its been weirdly modified with a see through window. This Synthi could be made "DELUXE" in a bigger briefcase with some nice patched or installed in the case speakers, maybe a small external Sub, and patch points for speakers, inputs, an effects insert, or send, maybe a bigger reverb tank, so much could be done to make it super cool. We have always talked about making a "DELUXE" AKS. This is a good opportunity for that. Also the Samsonite, Samite briefcase come up on occasion, for around $800, so please figure whatever you may pay for a complete synthi, I would minus about $2000, for the case, a new pot, and some touch up."

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"Dr. Bob's Modular" Benefit Sample Library for Bob Moog Foundation

"Acclaimed Sound Designers Drew Neumann and Kevin Lamb Create Dr. Bob's Modular Sample Library to Benefit the Bob Moog Foundation

December 1, 2010 – Asheville, NC/Los Angeles, CA – California-based sound designers Drew Neumann and Kevin Lamb have joined forces to create a sound library entitled Dr. Bob's Modular as a benefit for the Bob Moog Foundation. Sounds from Dr. Bob's Modular were sampled from a vintage modular Moog System 15 belonging to collector Dr. Howie Shen. The sample library of unique modular synthesizer sounds is available in the Native Instruments Kontakt 3.1 format at http://www.droomusic.com/dn_prodbundles.php.

The complete library of over 120 sounds is available for $50, while smaller bundles of 13 sounds each are available for $10 apiece. Purchase of the entire library offers significant savings. All bundles come with a special BMF electronic drum kit. Two compositions made with sounds from the library, “Bad Monkeys” and “BMF Carol of the Bells,” can be heard at www.droomusic.com and SoundCloud:


[Bad Monkeys get loose in the house. A short demo...

This was done entirely with one analog synth, a vintage Moog System 15 Modular loaned to me by Dr. Howie Shen. All sounds were generated on the synth, sampled using Redmatica software and loaded into Kontakt. Sequence written using Digital Performer. No monkeys were harmed.]


[Another one--this was also done entirely with the vintage Moog System 15 Modular loaned to me by Dr. Howie Shen. All sounds were generated on the synth, sampled using Redmatica software and loaded into Kontakt. Sequence written using Digital Performer. This showcases a sound set that will be sold at www.droomusic.com starting December 1, 2010 as a fundraiser for the Bob Moog Foundation. 50% of all proceeds go directly to the foundation. Happy Holidays!]

Fifty percent of all proceeds from the purchase of the library and bundles go to benefit the Bob Moog Foundation.

Dr. Bob's Modular is a downloadable-only sample library created to honor synthesizer pioneer Bob Moog's memory and to support the Foundation's mission of igniting creativity at the intersection of music, history, science, and innovation. Kontakt was chosen because it is a widely supported platform with powerful synthesis capabilities of its own. Kontakt supports monolithic file formats that make Web downloads and installations easy. There is a free downloadable Kontakt Player available at Native Instruments' website.

The full version of Kontakt is recommended for users who would like to dig deeper and want to edit and create their own new sounds using the raw waveforms.

Droomusic.com is a work of collaboration between award-winning and renowned composers/sound designers Drew Neumann and Kevin Lamb, who have nearly 70 years of combined experience working with analog synthesizers, both as builders and as players. The website offers extremely affordable sounds ready for immediate download.

Neumann and Lamb state, “Both of us became interested in electronic music through Dr. Moog's wonderful instruments—a passionate interest that led to our careers. We feel that this is one way we can give something back, to help a new generation discover music technologies, and to honor Dr. Moog's highly influential work.”

Drew Neumann (www.drewneumann.com) is an L.A.-based musician and composer of film and television scores for Disney, Paramount, MTV, Nickelodeon, and Cartoon Network. He created the soundtrack of the science fiction animated series Æon Flux and has composed music for many other shows including The Wild Thornberrys, The Grim Adventures of Billy & Mandy, and Aaahh!!! Real Monsters. He studied film, animation, and composition at the California Institute of the Arts. In addition, Neumann has contributed sound design and music composition for a variety of synthesizers, sound libraries, and software and computer products.

Kevin Lamb (www.premeditatedmusic.com) has worked as a keyboardist, synthesizer programmer, keyboard tech, and engineer for a number of notable international acts such as the Temptations, Chad Hugo (Neptunes), Guitar Legends, the BBC, John Wetton, Phil Manzanera, Tam White, Boz Burrell, Heitor Pereria, Steve Goodman, Simply Red, Thompson Twins, Icehouse, Vitamin Z, Take 6, The End, The Doors, Al Jarreau, Device, Tavares, and the Four Tops. He is an Ivor Novello-nominated composer for UK/European television. Kevin also creates sounds for synthesizer manufacturers and libraries, including Moog, Arturia, and Native Instruments. He is the designer of v4 firmware for C-Thru Music's AXiS-64 MIDI controller.

The Bob Moog Foundation (www.moogfoundation.org) honors the legacy of synthesizer pioneer Bob Moog through its mission of educating and inspiring people with the intersection of music, history, science, and innovation. Its projects include its MoogLab Student Outreach Program, which brings electronic musical instruments into the schools to teach children science through music; the Archive Preservation Initiative, an effort to preserve and protect the inventor's extensive and historic archive; and the future Moogseum, an innovative educational, historic, and cultural facility to be located in Asheville within the next five years.

The Bob Moog Foundation is an independent, donor-driven 501(c)(3) non-profit organization and is not formally affiliated with Moog Music, Inc."

ARP 2500

images via this auction

"super-rare ARP 2500 from the personal collection of Phil Cirocco of CMS / Discrete Synthesizers. It features a rare, vintage ARP 2002 cabinet, a 3000 series four voice keyboard and a full compliment of 1000 series modules. This is a once in a lifetime opportunity to own a fully functional, killer sounding synthesizer, as well as a rare piece of electronic music history. The 2002 cabinet is in good condition. It is all original and has not been restored. It was made in 1970. It is a very early and rare version featuring 10 patching tracks on the top section instead of the 20 that later versions use. The top section of a 2500 is only used for CV, gate and trigger etc. so 10 tracks is usually adequate for most situations. It has 20 tracks on the bottom as all 2500s do. Also, this early unit is more compact and uses its space more efficiently than later versions. (Many people complain about the large amount of real estate that later version 2500 cabinets use up.) The power supply was upgraded here at CMS about 2 years ago to a 1.5 Amp, low noise high performance unit. The separate 12v lamp power supply was also recently rebuilt. The Keyboard is a standard ARP 2500 4 voice split keyboard. The rubber mounts of the key contact PCB have been replaced. The key contacts have been cleaned. The rubber pads of the keyboard are intact. The keyboard is fully functional. The keys are in very good condition. The hardwood keyboard cabinet is in very good condition. There is a very small ding on the left keyboard control panel. It includes the keyboard connection cables as well as the AC cable. The 1000 series modules are fully functional and have been meticulously maintained here at CMS for the past decade. The module compliment includes the legendary ARP 1047 Multimode Filter and the ARP 1027 sequencer. The 1004T VCO and the 1036 Dual Sample Hold were originally owned by the ARP factory as production samples. The dual VCO is a super-rare prototype developed at ARP by Roger Powell and Clark Ferguson.

1004T VCO
1027 3 x 10 Sequencer
1023 Dual VCO
1005 Ring Mod / VCA
1047 Multimode Filter
1033 Dual EG with delay
1016 Noise / Random Voltage
1006 Lowpass filter / VCA
1036 Dual S/H, Clock
1003 Dual EG
1002 Power Control

This system has been fully calibrated recently here at CMS. If you want to hear an example of a 2500 system in action go to: discretesynthesizers.com

Several modules have a former owners name and serial # engraved the corners of the front panels. The veneer cabinet has 2 corners that have been rounded slightly, but they are in the back. The left side has some broken veneer on the front edge. I was planning to refinish the cabinet myself, but I never got around to it. It’s quite easy to separate the electronics from the cabinet. When all the modules are out of the case, the matrix switch/shelf assembly slides right out the back. The upper left matrix switch assembly looks like it took a small impact at one time, but it functions normally. This is a vintage instrument from 1970"

2013 NAMM: Yamaha Mobile Music Sequencer for iPad

Yamaha Mobile Music Sequencer - Overview - iPad App

Published on Jan 23, 2013 yamahajp·1,200 videos

Introductory Offer Price! (until the end of February 2013)
Yamaha's new Mobile Music Sequencer enables composers to combine a range of phrase patterns and create musical compositions intuitively, following the flow of composition, from phrases to sections and from sections to songs.
Wherever you are, you can now sketch the outline of a composition. In addition, you can use the ingredients to delicately craft songs on a Yamaha synthesizer, or in Steinberg Cubase.

First, try loading the demo song (a number of demo songs are provided). Tap on the settings icon in the top right of the screen, select [Digital Sympathy] from the Presets under the File tab, and press the Load button to read in the song.

Create a song right away as follows:

Step 1-Create phrases
You can choose from a rich selection of 382 preset phrases (the phrase is the smallest unit in the structure of a composition). Under Phrase in the View screen, tap on a cell in which no setting has been made, then tap on the Select button on the left. To listen to a preset phrase, tap on its name. It is also possible to use real-time recordings made using the keyboard within an application, or user phrases which have been created using piano roll input. Using the powerful Loop Remix function, it is possible to divide selected phrases at specified intervals and then order them automatically insert rolls or breaks, and thus rework them into new phrases.

Step 2-Create sections
Combine multiple phrases together to create a section. Phrases are arranged in a vertical block and playback is turned on and off using the Section button at the bottom of the screen. The phrases can be managed as a single unit.
By specifying codes for individual sections, you can easily create variations. Using the Create command you can also create a succession of new sections based on the phrase that is currently being played back, which allows production to proceed smoothly.

Step 3-Create Songs
Put together complete songs by pasting together sections. This is easily accomplished by touching the Section area and then just dragging and dropping sections into the data area. Naturally, you can also input sections by recording in real time or by using the piano roll screen.

Advantages
• Built-in software synth with 92 high-quality sounds (including 9 types of drumkit) enables faithful rendering of sequence patterns.
• Sound editing using filters, EG, and other effects
• Mixer function for each part
• Effects including reverb, chorus, and variations
• Additional phrases and sounds
Four additional voice and phrase datapacks can be purchased directly using the application. (Dance Pop, Electronic, Hip Hop, R&B)
• File export
As well as a function for outputting standard general-purpose MIDI files, the application also includes a function for exporting files in an even easier-to-use format designed for Yamaha synths, in which characteristic sounds are specified in advance. (MOTIF XF, S90XS/S70XS, MOX6/MOX8, and MOTIF XS)
• Mix-down
Audio mix-down of a song or a phrase and conversion of the song or the phrase to an audio file can be performed in real time.
• Compatibility with SoundCloud
Audio files can be made compatible with SoundCloud and uploaded."

You can see it at the end of the following video:

2013 NAMM Show Yamaha MX49
Published on Jan 24, 2013 James Lewin·11 videos

"Phil from Yamaha introduces the new MX49."

Note the MX49 and MX61 were introduced in October of 2012.

iTunes:
Mobile Music Sequencer - US - Yamaha Corporation of America
Yamaha Corporation of America
iOS Devices on eBay - Daily Tech Deals

Brian Eno's The Fat Lady of Limbourg for the Raspberry Pi

"Here's an updated version of Eno's favourite chubby girl, but rendered with a slimline synthesis model. All in an attempt to get this runnable on a single Raspberry Pi. This uses the non-oversampled synth, so everything is computed at 44.1kHz. It's using the newer variant of the BPCVO model, and I've redone all the synth presets to remove the filter on everything pitched to eliminate that particular computation burden. And there are tricks you can play to bring back a 'filtery' sound - for example, morphing from sin to saw or sin to square sounds like a filter opening up as harmonics get introduced, and that trick has been exploited to turn the pair of 'Brass' into pure 1980s digital filter-free synthesis. But despite the trick (early ramp via EG to morph from sin to saw, giving a harmonic enrichening over the first 100ms or so of the sound) you simply can't replace a filter with tricks, so the sounds do suffer as a result. But hey, no free lunches here, the goal was to make it burn less CPU and still get a decent sound. So the 'Fat Lady' bass has also gone filterless, ditto the Warm Jets 'guitar', ditto Phil's Wiggly Manzanera. The percussive elements remain filtered as they just have to be, they rely on the resonant filter to generate anything at all apart from hissy noise.

But after the filter removal and the performance tuning, this version now runs in exactly 24% of an iPad 2. It may actually run on a Pi in this form. Really, there is a damn good chance that £20 of woefully underpowered educational computer will be able to synthesize this in real time, without resorting to a Pocket Orchestra. Bear in mind, 'this' is now 14 notes of polyphony, many stereo delays (seven? eight??), a global reverb and 10 separate synths.

Audio was captured from the iPad and not processed in any way, these are exactly the bytes that I computed. Cool, eh? Plus, big bonus, you get the Eerie Noise - which is actually a combination of a dedicated 'Eerie Noise' synth and the pair of brasses, turned way down and pitch bent to buggery. Yay!

Next step - get this codebase rebuilt on a Pi and actually run it."

And the original:

Reminder: THE ARP 2600 SYNTHPOSIUM is Coming Saturday, September 18TH

This is a follow-up to this post. You can purchase tickets at the event page here. For Group rates and free scholorship tickets see the admission section below.

"Join the Alan R. Pearlman Foundation online Saturday, September 18th, for a virtual Festival and Fundraiser honoring the 50th anniversary of the mighty ARP 2600, hosted by The Record Co. in Boston, MA!

This online celebration will feature live performances, live panel discussions, a 2600 synthesizer clinic, premiered videos of performances and interviews, special guests, a silent auction, and more. All proceeds will benefit the Alan R. Pearlman Foundation and the ARPs For All project.
Who
Panelists include:
Alsún Ní Chasaide, Alison Stout, BT, Brian Kehew, David Baron, David Friend, David Frederick Jr, David Mash, DJ Cherish the Luv, EMEAPP, Jack Hotop, Jennifer Hruska, Jean-Michel Jarre, Jon Carin, Korg, Lisa Bella Donna, Marie Ann Hedonia, Phil Cirocco, Richard Boulanger, Richard Devine, Steve McQuarry

New and exclusive content by:
Alex Ball (demo), Berklee Ensemble (video performance), Bill T. Miller (video performance), David Van Pelt (video performance), DJ Cherish the Luv (video performance + interview), Don Slepian (video performance + demo), EMEAPP (video performance + Live Stream), Ernesto Romeo (video performance), Glen Harlock (2600 video patchbook)*, Jennifer Hruska (video performance with ensemble), Jim Mitchmerhuizen (interview excerpt), Lisa Bella Donna (video performance), Marie Ann Hedonia (video performance + interview), Steve McQuarry (video performance + interview)

Why
The ARP 2600 is one of the most influential synthesizers ever created and has been played by artists such as Stevie Wonder, Herbie Hancock, Edgar Winter, Joe Zawinul, and sound designer Ben Burtt (as the voice of R2D2). Recently brought back into production by Korg, the ARP 2600 is once again a beacon of unlimited possibilities for a whole new generation of musicians.

How
The event will live stream from Boston’s own The Record Co, a community music workspace with professional recording and rehearsal studios. The event will focus on the ARP 2600, the iconic synthesizer that brought semi-modular synthesis to performers and educators around the world. It will feature panel discussions, performances, and interviews with world-renowned artists, technicians, engineers, and more. Participants will be able to interact live with panelists via Zoom.

What
Proceeds will benefit ARP Foundation initiatives, including The ARPs For All project, a joint effort by The Record Co. and ARPf, enabling anyone who rents studio or rehearsal time to use these incredible instruments at no additional cost.

Come join us!

When

EVENT SCHEDULE:
There will be an approximate 5-minute break after panels.

11:00am – Berklee Synth Ensemble (opening music)

11:30am – Opening Address

12:00pm – Panel 1 - ARP 2600: The First 50 years

1:00pm – Intermission (videos)

1:30pm – Prerecorded- The Next Fifty Years (remaking, restoring and reimagining)

2:00pm – Panel 2 – Maintaining Vintage 2600s in a Modern World

3:00pm – David’s 2600 Tutorial/Demonstration – A comparison of the original ARP2600, the new Korg ARP2600 FS, and the upcoming Korg ARP2600M Module. Demonstrations of some of the more esoteric capabilities of the 2600.

3:30pm – Intermission (videos)

3:45pm – Lisa Bella Donna

4:15pm – Panel 3- Artists using ARPs

5:15pm – Jennifer Hruska Group

5:45pm – Finding a New Voice

6:15pm – Live Stream from EMEAPP

6:30pm – Results from Silent Auction and Closing Remarks!

ADMISSION:
Students (Only): $10.00

Access to the Synthposium
Price of admission will increase to $12 on Sept 15th
General Public:

$20.00

Access to the Synthposium
Price of admission will increase to $25 on Sept 15th
$50.00

Access to the Synthposium
10% Discount off a t-shirt at our store
Special access to full length interviews & concerts
$100.00

Access to the Synthposium
10% Discount off a t-shirt at our store
1 ARP CD Download
Special access to full length interviews & concerts
Special access to tutorials

Synthposium Scholarship: In light of our challenging times, we can provide access to free scholarship tickets if circumstances dictate. Please send an email to dina@alanrpearlmanfoundation.org

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Phil Collins "Sussudio" Minimoog with MIDI for Auction?

YouTube Uploaded by ricel1992 on Jun 13, 2011

"Little Video Demo for my minimoog D with Studio electronics midi added"

via this auction

"I bought this from the keyboardist for Phil Collins, he told me that he used it to record the live track minimoog bassline for the song Sussudio, it has been the same live track ever since!"

Update: via davidfrank in the comments: "Hi David Frank here. I programmed the sussudio bass line on a oberheim obxa/Dsx/Dmx connected to a minimoog. could have been this "midied"minimoog. It was at townhouse studiosLondon in a programming room by myself while Phil and Hugh Padgham were doing other parts for the album.
Phil had sent me a demo of the song that had an 1/8 note repeating on the root note as the bass line. I changed it to the 16th note riff to make the song more exciting and the track more original sounding. In the process of putting a slide TO the downbeat of the Chorus I tried a slide ON the downbeat instead. Thus the Sussudio bassline. The horn arrangement was done later and used the bass line as it's main motif."

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ROLAND CR-78 RHYTHM DRUM MACHINE

images via this auction

I never noticed the sliders on the SH-32 are similar until now.

Auction description via wikipedia:
"The Roland CompuRhythm CR-78 is a drum machine launched in 1978.
Although primitive by today's standards, the CR-78 represented an important advance in drum machine technology at the time. The wood effect cabinet and preset rhythms of the CR-78 such as Waltz, Bossa Nova and Rhumba suggest that it was seen by its designers as primarily an accompaniment for an electric organ, but the CR-78 became one of the favorite instruments of New Wave and electronic musicians in the late 1970s and early 1980s. Songs that make prominent use of the Roland CR-78 include Heart of Glass by Blondie and In the Air Tonight by Phil Collins. [2]

The machine and its controls
The CR-78 used analog drum voices, which sounded very little like real percussion instruments, but they instead had their own distinctive sounds. The unit also incorporated an early Intel microprocessor to provide digital control of its functions.[3]

Previous Roland drum machines had offered only a selection of preset rhythms. The CR-78's key new feature was that in addition to offering 34 preset rhythms, it provided four programmable memory locations for storing patterns created by the user. These could be created by using step programming with the WS-1 box, which was available as an optional extra. [4]

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An Early EMS Christmas Gift

Saving the pic for the bottom of this one. Don't scroll past the dots if you want to save it for last.  Congrats to Benge!  Don't know whether to love him or hate him at the moment... :)

via It's Full of Stars

"Something amazing just happened that normally only happens in daydreams you know where you walk past a charity shop and imagine seeing a Moog modular in the window for £20

Well I got an email from a friend (thanks Phil J!!!) who has a friend who works at a London university in the music department one day a week. This chap was clearing out a cupboard and found a load of old gear that hadn't been used for years and wanted it to go to a good home, rather than it just being neglected or even worse chucked out. So I got passed this email saying there was a load of EMS gear from the 1970s and did I know of anyone who might want it!?!? So rather excitedly I replied that yes I am someone who is an avid fan of EMS equipment and that I own the rest of the matching series!! I had to pay a nominal fee to keep the bursar happy, but the amazing thing is I have now got the full set of EMS modules and keyboards and they are an exact match of my EMS VCS3 and DK1 (one of the first synths I bought 20+ years ago)

Here is a picture, my existing Putney and Cricklewood, and the new TKS touch keyboard and sequencer, 8 octave filter bank, pitch to voltage converter and random voltage generator. This is a very powerful system! Lucky me!!!!"

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1976 ARP 2600 with Original Leather Cases & ARP's Old Number

Note: Auction links are affiliate links for which the site may be compensated.
Published on Dec 14, 2012 by MechHandlingSystems

via this auction

"Along with the owner's manual and Patch Book, it has a copy of a 2-page hand-written note detailing setup, trim, VCO and VCF calibration and keyboard calibration. The best part of this is the sloppy market notation at the bottom of page 2,

"IF YOU GET IN TROUBLE, CALL:
CLARK FERGUSON OR PHILIP DODDS
965-9700"

Clark Ferguson was ARP's service department manager, and Philip Dodds was VP of engineering. These notes are likely written in Philip Dodds' hand. He was an interesting guy that ended up having a featured role in "Close Encounters of the Third Kind" after Spielberg saw him setting up a 2500 to do the big "dum dum dum DUM DAAAAA" thing.

MECHANICS

It is the 2601 V1.0, with the improved jacks that won't flake out and the better sliders. It is the most mechanically advanced ARP 2600 model that still contains the legendary 4012 ladder-type filter that was built too close to Moog's patents for their comfort (an actual lawsuit was never filed)

It comes with the duo phonic 3620 keyboard. Serial numbers match and are in the low 300s.

There is a broken slider at the bottom center of the main panel, although it works and can be adjusted by hand. I am looking for the replacement slider and knob I purchased and hope to include it in the auction. See pictures for detail.

A few of the sliders have scratch. See the video for an example of that.

ELECTRONICS

As just mentioned, it has the 4012 filter. Now, some of these are epoxied and gross. Some of them are copper clad but with sloppy brazing. But some … well, some glow like a beating heart pumping astounding signals through its soldered veins and arteries. This one is like that.

It also has the UN-encapsulated 4027-1 VCOs, which are necessary if you plan to do certain mods.

It also has a mod for a Mediamix Joystick, which I just learned thanks to Phil at CMS and have never looked for one. I have a picture of one for the winner. Owning a Synthi AK I can tell you joysticks are pretty nice to have on your synthesizer!

The capacitors on the power supply are 35 years old and should be replaced soon, according to a bunch of people that seem to feel very strongly about it. CMS sells a power supply you can install yourself, if you're into that kind of thing, for $169."

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Eric Clapton and Phil Collins - Behind the Mask

YouTube via MeanAuntie

OK, I'm stretching it with this one, but this is truly bizarre. YMO's Behind the Mask with Eric Clapton and others. For reference see these posts. Spot the synths.
"Prince's Trust circa '87 - Clapton, Collins, Midge Ure, various others... Behind the Mask"

Update via tim in the comments:
"Clapton's cover came about because of Greg Philliganes being his keyboardist at the time. He did a version on his 1984 album Pulse, with uncredited backing vocals and added lyrics by Michael Jackson. And I think Jackson had considered doing it on Thriller after Quincy Jones pointed out the original to him."

And some fascinating info from the AH list:
"I don't think anyone's spoken up about lyricist or how that song got to Clapton;-)

Okay. First off Yellow Magic Orchestra was meant to be a more or less one-off concept project in Japan (1978) it was meant to be as if Martin Denny's music was played by Kraftwerk. In other words taking the West's notion of inauthentic but cool "Oriental" music and give it the edge of modern technology (the impression Westerners had of Japan).

A&M Records liked what they heard, moderately remixed it to their tastes and YMO were ready to tour and promote the album. They did a lot of promotion in LA, then swung by NYC, London and Paris. The year was 1979. Back in Japan they were doing well though not chart topping. They eventually did gain real chart success in Japan. Their success was more moderate in the US though their use of video games and electronic beats was influential. They took 1982 off for Sakamoto to work on "Merry Christmas Mr. Lawrence" and then reformed in 1983 with the understanding that they'd disband at the end of the year. They really did want to go their own ways but it was a great marketing tool to really make them iconic in Japan. They reformed 10 years later for a one-off album and concert.

They started to work together again on and off in the 2000s. They have a show next weekend in London. Definitely a one off thing. I guess they were asked nicely by Massive Attack to do a show. They aren't promoting anything new or doing more shows. I sort of wish I could go.

As for gear, it's ironic that they played maybe 90% American synths. Early on - lots of Moog Modular. Later on lots of Prophet. Always: Arp Odyssey. They do sound very different in 1983 versus 1978.

Okay now for the weird part of the Clapton story -- Michael Jackson took an interest in high tech music in the early 80s. He was trying to get Kraftwerk to work with him but nothing came of it. What did happen was YMO's song "Behind the Mask" originally only had "chorus" vocals so he wrote new lead lyrics and kept the chorus. I assume he wrote the song for himself to sing, but he had lots of (all original) material then so it was offered to Clapton. It did quite well in terms of Clapton's career. Sakamoto, who wrote the melody (Chris Mosdel did the chorus lyrics) liked the new lyrics and the then prestige of Michael Jackson' additions. There is a mid 80s EP of Sakamoto's solo band doing it. He was trying to do a more contemporary R&B sound back then (not intended to be ironic). YMO's label commissioned Human League to do a remix version in the early 90s, instead (apparently) they did a cover version.

nick
http://technopop.info"

Introducing: GForce Oberheim DMX

video upload by GForce Software

"GForce Software and Oberheim proudly unveil the DMX, an ode to the legendary drum machine of the past, seamlessly integrated with the speed and versatility of today’s digital realm. The DMX™ is a time machine that bridges decades of sound with the future of rhythm.

Credits
@AlexBallMusic - video production and voice-over.
John D. - Hardware demo audio and video.
Bouddicca’s Bass Service - audio track at 4:03min

Demo Note - The output of the LM-1 and the hardware DMX kits have been enhanced with EMT Reverb, EQ, and Tape Saturation. The GForce DMX is shipped with both clean and processed kits, many of these being used in the demo. Any perceptible sound differences between the hardware and software used in this demo are due to differences in sound levels and the presence of the EMT Reverb."

via GForce

"The Oberheim DMX by GForce is an ode to the legendary drum machine of the past, seamlessly integrated with the speed and versatility of today’s digital realm. The DMX™ is a time machine that bridges decades of sound with the future of rhythm.

Authentic Sound, Unmatched Clarity – Experience the raw power of vintage drum sounds, meticulously crafted and enhanced for crystal-clear quality without losing their classic soul.
Intuitive Design, Infinite Creativity – With its sleek, user-friendly interface, the DMX invites novices and seasoned professionals to explore, experiment, and express without bounds.

The Oberheim DMX drum machine has left an indelible mark on the soundscape of popular music, crafting the rhythmic foundation of timeless tracks across a spectrum of genres.

From the driving beats of New Order‘s “Blue Monday” and Madonna‘s “Holiday” to the foundational rhythms of Run-D.M.C.‘s “It’s Like That,” the infectious Phil Collins’ “Sussudio”, the seminal Hip Hop/Electro jam Davy DMX’s “One For The Treble” or the uplifting grooves of Eurythmics’ 1983 album, its influence is unmistakable. Even Daft Punk‘s “Discovery” album owes a nod to the DMX.

We included all of the original DMX sounds from its launch in 1981, as well as the updated DMX sounds introduced around 1983. We’ve complemented the DMX sound set with the DX and the Sequential Drumtraks ones plus many alternatives.

The DMX by GForce Software is more than a drum machine; it’s a declaration that the beats of the past are the heartbeat of the future. It’s designed for those who revere the rhythm legends of yesteryears but are eager to push the boundaries of what’s rhythmically possible tomorrow.

Jumpstart your creativity with a comprehensive collection of classic MIDI files. These carefully selected rhythms offer a nod to the iconic beats that have shaped music history, ready for you to re-imagine and integrate into your modern productions.

Finally, we’ve incorporated kits that capture the raw, unprocessed sound of a DMX/DX, as well as kits that are professionally produced and ready for immediate use in your productions.

Step into a world where vintage vibes and modern moves converge. With the GForce‘s Oberheim DMX, unleash patterns that pulsate with the lifeblood of classics, refined by the precision of modern technology.

Classic Sound, Modern Control: Dive into the original eight-part sound kit of the Oberheim DMX, now augmented with comprehensive control over pan, solo, mute, pitch, decay, analogue-style delay send, and the lush, spacious reverb send for each channel.
Masterful Manipulation: On the master channel, a multi-mode filter, distortion, and compressor offer the ultimate tools for adding depth, warmth, and punch. Sculpt your overall sound with precision, adding that sought-after character only found in vintage gear.
Recreate some of the most iconic beats or twist them into something uniquely yours, all while benefiting from the timeless sound that has defined the rhythm for generations.

It’s time to let your beats tell a story as timeless as music itself."

ARP 2600 analog synthesizer with 3604 keyboard

Youtube via theonlylarrytheo.

via this auction

"A short, more or less tonal improvisation on a vintage ARP 2600 analog synthesizer."

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EMS Synthi AKS Restored by CMS on The Bay

A couple of shots pulled from this auction. Restored by CMS. Currently at 10 bids and $6200.

Details:
"Up for auction here is a fully restored Synthi AKS made by EMS of London, in excellent condition complete with a fully functional KS keyboard. The unit is all original and is not a clone, reissue or reproduction. Serial #’s on the synth and the keyboard match. This Synthi has been fully restored by Phil Cirocco of CMS / DiscreteSynthesizers (yes it's me). Google the "Novachord Restoration Project" for a restoration example. I hate to give up my special secret weapon of aural destruction, but it's the usual story, I'm trying to buy a house. This unit is dangerous through a very large PA system.

Standard Synthi AKS features will not be listed here. I assume you know them if you are looking for one.

Synthi A Features: All the electrolytic (wet) capacitors have been replaced. Wet caps dry out after 15 to 20 years. There are numerous wet caps used in the Synthi and they all must be replaced. The power supply is the more reliable version 2 and has been fully rebuilt. It has brand new speakers and a new reverb tank. It also has 14 new silver knob inserts. New power switch and AC inlet. The knobs and front panel are in excellent condition. The pin matrix is also in brand new condition. The joystick has no play and stays in position. The meter plastic has no scratches. All circuitry and mechanicals are fully functional and have been calibrated to factory specs. This is a rare opportunity to buy a Synthi AKS that needs no post-auction servicing.

The KS keyboard is in excellent condition and has been totally rebuilt and calibrated. The sequencer is fully functional and the meter indicates the sequencer location. The keys, transpose and random touch switches all work fine. The touch sensor also is fully functional and is normalized through input channel 2. As with all AKSs, the sequencer output is routed through the joystick output, and the real time CV out is routed through input channel 1. Usually, when you buy an AKS, the KS keyboard is not functional. It’s very labor intensive to diagnose and repair it’s primitive computer, but this keyboard also has been totally restored and is guaranteed fully functional.

The outer case is in good condition with the usual light scratches, nothing deep. All the plastic parts of the suitcase are totally intact, no rips. The outside chrome hardware has tarnished and has some rust and pitting but probably could be brought back with some steel wool or jewelers polish. The latches all work. The lid is in very good condition and the blue plexiglass EMS emblem is in very good condition.

Comes with a brand new power cord, keyboard cable and 15 brand new matrix pins."

Mighty nice.

via ag

Kitaro's jewel:The D70!

YouTube via h281970
"Kitaro and also Jarre used this synth for his unique voices and effects.
It's a very good synth just like the D50!"

The Roland Alpha Juno:keyboard Petshop Boys!

"A lot of used synthesizer by the Petshopboys, Duran Duran, Simple Minds and OMD etc..."

The Roland D50:Phil Collinssynth!

"Phil Collins used this synth a lot in the 80's for hits like "I remember"
and "This is the world..."A very populair synth for him!"

The D10:synth of the Pet Shop Boys!

"A very poulair synth for the petshop boys;also for stars like
Enya and Bon Jovi.Also in Belgium he stays populair!"

The JD 800:Petshop boys jewel!

"A very but very good synth special used by the Petshop boys for his
nice voices he's got!"

The Juno G:synth used by Roxette!

"A very good and not so old synth with sequencer.Very populair in England
he is!"

Update: two more:

The JD 800:synth of Jarre!

"J.M;Jarre used a lot this synth for his perfect voices and effects.He stays
a very important synth in the world of New Age"

A icon in the world of Jarre:The Juno 106!

"Jarre used a lot this synth becorse you can do so many with his voices!For
me he stays one of my best synths."

Mint ARP 2500 Synthesizer for Sale and Videos

via Steve: "This is a once in a lifetime chance to own an Arp 2500 without breaking the bank to do it. The eBay listing tells the whole story- this Arp 2500 was purchased during ARP's bankruptcy auction, on site at ARP, by my friend Larry O. The modules were, and remained, in plastic wrap with tags right off the QA line. He recently assembled them into a 'mini' Arp 2500 system built into a cabinet from the QA dept of ARP.

It was fully serviced by Phil at CMS just now and is on eBay.

You will probably never, ever, see such a pristine and AFFORDABLE Arp 2500 for sale... Get it before its gone!"

via this auction:
"The Who’s Pete Townshend and Led Zeppelin’s Jimmy Page were only two of the devotees of this legendary instrument. Hell, it was the ARP 2500 that was used to call to the aliens in “Close Encounters of the Third Kind”!

The History
This extremely rare and primo system is the last of more than 100 modules and eight cabinets I personally purchased from the auction at the ARP factory when the company went out of business back in 1981. These modules were still wrapped in plastic with QA tags attached when I got them. (See recent photo of QA tags below.) They have seen very little use over the last 30 years (the QA tags are stamped with 1975 dates).

The cabinet resided in ARP’s Engineering Department, where it was used for prototyping new modules. The original serial number tag identifies it as being the 45th cabinet made in 1970 (70-045). Five of the modules and the cabinet sport ARP’s earliest logo (the “squishy lines”), while the rest have the “treble clef” logo.

Vintage? Oh yeah.
Needless to say, I cherry-picked a beautiful configuration to keep as my final remnant: four VCOs, two VCFs, two VCAs, four envelope generators, sample/hold, noise generators.

For the full auction story and a listening tour of this instrument, copy and paste these links to see my YouTube videos [below]

The Modules
This is one sweeeeet system, the likes of which you are not likely to see again. It’s the real deal:
1004-T Oscillator (mixable waveform)
1023 Dual Oscillator
1045 Voltage-Controlled Voice (this thing is The S**t)
1036 Dual Sample & Hold/Random Voltage
1003 Dual EG
1006 Filtamp
1016 Dual Noise

Click “Buy It Now” and get an additional 1006 Filtamp, also just back from service by CMS!

The Icing on the Cake
Included are an original, print Owner’s Manual, a CD containing PDFs of all the circuits and parts (though you really should have Phil do any work on it), and a cabinet extension cable.

On request I can provide an Excel doc containing The Gory Details: serial numbers, CMS service specifics, patching details for the outer slots."

Sold For: US $12,000.00





ARP2500 KingoftheModulars

YouTube via theonlylarrytheo
"Larry the O gives a tour of his ARP2500, including how he purchased it at the ARP auction."

ARP2500 mod improv1


"Part 1 of 2 of Larry the O improvising on an ARP 2500 modulation patch. A sound design session from the boop-squawk school."

ARP2500 mod improv2


"Part 2 of 2 of Larry the O improvising on an ARP 2500 modulation patch. Are you experienced? Have you ever been experienced? Well, I have."

ARP2500 S&H improv


"Larry the O improvising on an ARP 2500 sample-and-hold patch. Boop-squawk sound design, old-school style."

Sequential Joins The Focusrite Group — A Message From Dave Smith

video by Sequential

"It’s with great excitement that I announce that Sequential is joining the Focusrite Group of music and audio brands.

We're now part of a family made up of some of the best and brightest companies in the music instruments and pro audio industries: Focusrite, Focusrite Pro, Martin Audio, Optimal Audio, ADAM Audio, Novation and Ampify Music. We’re in good company!

But don't worry — we’re not going anywhere. It’s business as usual for us and we'll be a separate entity from the other brands in the group. I’ll continue to lead our engineering and product development and work with the Sequential design team into the future. If anything, I'll have more time to make amazing synths!

- Dave Smith"

And the official press release:

Focusrite PLC Acquires Sequential® in Landmark Industry Development

Legendary Synth Brand Founded by Dave Smith Joins Focusrite Group

San Francisco, CA and High Wycombe, UK — April 27th 2021 — In a joint statement, Focusrite Group and Sequential LLC today announced that Focusrite plc, a leading global creator of music and audio hardware and software products, has acquired Sequential LLC, the respected American synthesizer manufacturer led by legendary electronic instrument designer and Grammy® winner Dave Smith.

Both companies stand to benefit from the synergy created by the acquisition. The Focusrite Group will add the venerable Sequential line of instruments to its already-impressive portfolio of products, which includes the acclaimed Focusrite, Focusrite Pro, Martin Audio, Optimal Audio, ADAM Audio, Novation, and Ampify brands. Sequential will benefit from greater resources to expand its global markets and future R&D efforts.

Sequential’s Dave Smith said, “With Focusrite, we’ve found an ideal home and a perfect cultural and technological fit. Phil Dudderidge and his team have a long history of quality, vision, and focus on what musicians and audio professionals really want. We’re excited to join such an industry powerhouse and contribute to our mutual success. I expect great things.”

Sequential has been a leading force in the resurgent popularity of analog synthesizers over the last decade. Its instruments, which include the Prophet® 5 Rev4 polyphonic synth, Pro 3® hybrid monosynth, and Prophet X Samples + Synthesis keyboard, are known for their versatility, ease of use, and excellence of sound. They are a mainstay of performing and recording artists and can be seen and heard on countless stages and recordings.

Focusrite Founder Phil Dudderidge commented: “We’re excited and pleased to add Sequential’s instruments and pedigree to Focusrite Group’s portfolio of world-class audio and music production tools. Dave Smith’s history as an innovator speaks for itself. From his creation of the world’s first fully programmable polysynth, the Prophet 5, to his co-invention of MIDI, Dave has literally changed the world of music several times. We’re looking forward to continuing his history of innovation and expanding the global market for Sequential’s instruments.”

Under the terms of the agreement, Sequential has become a wholly owned subsidiary of Focusrite plc. Sequential’s day-to-day operations and product development remain unchanged and will continue to be guided by Dave Smith and his team.

Tim Carroll, CEO of Focusrite Group, remarked, “Sequential is a premium analogue synth brand with a big stake in music creation. The products are exceptional and the company is run extremely well, and the passion of the people at Sequential aligns perfectly with our Focusrite Group ethos. It’s tremendously exciting to be able to bring Sequential into the Focusrite family, further the incredible journey that Dave Smith started, and keep growing together.”

via Sequential

And via Novation:

Legendary synth brand Sequential joins the family

Sequential and Novation will grow together under the same parent company.

We’re over the moon to announce that our parent company, Focusrite plc, has acquired Sequential, the synth brand founded and led by legendary synth designer and Grammy winner, Dave Smith.

If you’re new to the name Sequential, you’ll definitely have heard the synths: Dave Smith is the pioneer that designed the world’s first fully programmable polysynth, the classic Prophet® 5, and he co-invented MIDI, which transformed electronic production and changed musical history. Today, countless artists still count on Sequential instruments to bring life and an undeniably rich and organic feeling to their musical creations, spanning every genre.

Before your mind goes wild conceiving the ultimate Novation x Sequential product mashup, it’s safe to say that Sequential and Novation will continue to operate independently, as separate entities under the Focusrite Group umbrella. Dave Smith will remain at the helm of Sequential, leading engineering, product development and mentorship of Sequential’s new breed of designers.

So, it’s business as usual, and we’re extremely excited to grow together, inspire each other, and together fuel the future of forward-thinking music!

ARP 2600 GRAY MEANIE

via this auction
"The fact that this synth exists makes it very valuable but the fact that this synth is at CMS after just being fully restored makes it even more valuable.

I sent the synth to Phil Cirocco at CMS because I wanted it to be restored by the master of ARP 2600 restoration before I sold it. It deserves the best. Phil has meticulously gone through this unit and restored it to all of its’ glory. Phil said that it is in perfect working order other than one speaker distorts a bit on low notes at higher volume. Phil has new replacement speakers available, but it is a small thing and I wanted it keep it as original as possible. Phil has agreed to keep the unit at his shop until the end of the auction. I asked Phil to do me this favor for two reasons.

1) This synth is so valuable and rare that I wanted to keep shipping trips to the absolute minimum. Phil agreed.

2) If you want a mod or something changed, it is already at CMS. It will save you the cost of shipping it back and forth and minimize the risk that this valuable part of musical history could be damaged."

Below: Instructions for Unpacking and Setting Up the ARP 2600