"This track was the theme tune to on of TV-am's early Saturday morning show, Data Run - 1983-84
Music by Vince Clarke, Sung by Alison Moyet, all I can find on the web is a couple of 40+ second videos of this track, I thought it was deserving enough to be fleshed out a little...
Thank you to kvfive for help with some of the audio samples.
As always, the track is played 'live' in one take - with no DAW, editing or post production.
Description via Wikipedia [it's interesting that individual synths are now getting dedicated pages there]:
"The Roland MC-202 (MicroComposer) is a monophonic analog synthesizer/sequencer released by Roland in 1983. It is similar to the TB-303 and SH-101 synthesizers, featuring one voltage-controlled oscillator with simultaneous saw and square/pulse-width waveforms. The unit is portable and can be operated from batteries or an external power supply.
The internal synthesizer features one voltage-controlled oscillator with simultaneous saw, square/pulse-width and sub-octave square waveforms. Additionally there is a 24dB Low Pass filter, an LFO and a single ADSR envelope generator.
In terms of circuitry, it is nearly identical to the earlier SH-101 synthesizers but lacks the noise generator, choice of LFO shapes and modualtion/pitch bend controls. However, unlike the SH-101, it does include a delay on the LFO. The two units also share a design aesthetic in terms of the control layout, casing, lettering, knobs and slider caps.
The MC-202 includes a sequencer that can play back two separate sequences simultaneously. Two sets of CV/Gate connectors on the rear of the unit allow for routing the sequences to external synthesizers. One of the two sequences is used to control the internal sequencer. The sequencer is programmed much like Roland's early digital MC-4 and MC-8 Microcomposer sequencers, whereby notes are entered with pitch, length and gate length. Additionally, each note in the sequence can be an accent and slide, which is similar to the TB-303 and the SH-101 and allows for so called acid sequences.
The sequences are lost if the unit is powered down, however a tape interface is provided so that sequences can be stored to and recalled from an audio tape recorder.
There are DIN sync inputs and outputs which allow the unit to synchronise playback, either as master or slave, with other DIN sync-equipped instruments such as the TB-303 or the Roland TR-808. The unit can also generate and sync to frequency-shift keying signals from a tape recorder."
"I have an original Roland MC-202 MicroComposer analog synthesizer which comes in its original box and contents. I purchased this in Japan and the previous owner barely used it! The MC-202 is in excellent condition and even comes with original sealed manuals and original Roland factory cable which are unused.
For those who may not be familiar, the Roland MC-202 was a hybrid between the Roland SH-101 synthesizer and a MC-4 MicroComposer released in 1983. The design concept was that users could use the MC-202 to program up to 2 other analog synthesizers via its mini keyboard sequencer via 2 CV/Gate outputs or use the built-in SH-101 analog sound generator in a portable Walkman-like battery operated device.
The MC-202 is excellent for programming eurorack modular gear and interfacing with other Roland x0x equipment. It is a favorite of Aphex Twin, Autechre, Daft Punk and many others..."
"I use the Novation Circuit Tracks and Roland MC-101 grooveboxes together to make jams from scratch (a Rezz type electro banger and a Kid Cudi type space trap beat).
"This video is a comparison of the Novation Circuit vs the Roland MC-101 (covering workflow, sound quality, and sound demos) to help you decide which groovebox is right for you."
"I have quite a few analog synths running in this video. First the Roland MC-909 is sequencing the Roland D-550, MKS-50, and Gray SH-101 (via Kenton Pro Solo) on top. The drums are running from the Boss RC-300 Loop Station on the floor. I am playing the Synth FX using the red Roland SH-101 and the Oberheim Matrix 1000 triggered by the Fantom X6. I then add a Roland Juno-106 synth part. Other than the sequenced parts, the entire groove is improvised. Enjoy!"
Roland Analog Sensation
Published on Aug 12, 2014
"Bass - Roland SH-101 Grey w/ Kenton Pro Solo
Sequencer - Roland MC-909
Roland MKS-50, D-550, and SH-101 sequenced.
Played Live
Red Roland SH-101
Roland Juno 106
Oberheim Matrix 1000 triggered by Roland Fantom X6"
"Welcome to Bad Gear, the show about the world's most hated audio tools. Today we are going to talk about the Roland MC-101 Groovebox. Is this youngest member of the Roland Groovebox family and little sibling of the Roland MC-707 on par with competitors like the Teenage Engineering OP-1, Elektron Digitakt or Korg Electribe?"
Chapters: 00:00 Intro tune 01:04 Overview Roland MC101 01:45 Engines (Drums, Drums+Comp, Tone, Looper) 02:03 Sounds, Presets, Patches 02:35 UI, Filter, Partial Editor, Unison 03:27 Clip Matrix, Sequencer, Workflow, 03:52 Polymeters, Substeps, Probability, Motion Recording 04:13 Effects Section (Reverb, Delay, Multi FX), Scatter 04:43 Sample Management, Time Stretch 05:05 Sampling (or lack thereof) 05:18 What else??? Pricing, Thanks!!! 05:53 Hate 06:16 Jam 1 (Tech House) 07:12 Jam 2 (Boom Bap) 08:10 Finale (80s on Steroids) 08:42 Verdict
"This new algorithm generates midi note, volume and controller data on 8 channels, one for each Roland MC-707 track. Note events occur when circles traverse the 3 horizontal lines. Volume changes occur when circles are destroyed in the black hole. Controller data and additional note events are generated by tracking the last notes played on some of the channels. Every aspect of the algorithm is probabilistic.
Designed and coded by Tony Horsman (my Dad)"
And one from Sep 12, 2021:
MidiPathFollower - An experiment in generative music creation (MC-101 and Eurorack)
"The artwork that I'm currently working on takes your eyes on a journey. My Dad suggested that the journey be travelled by a 'playhead' that makes sound/music when it hits 'notes'. This is the outcome. As always, it's a work in progress. Playheads work their way around a path/map, making decisions in real time as to which way to turn. When all notes have been reached a new map is drawn. The code that I wrote in Processing is running on a Raspberry Pi 4 with a 720x720 Hyperpixel Square LCD attached. It's generating the visuals and the MIDI data that's being sent to my Roland MC-101 for the guitar sounds then on to some effects in my modular rack."
"Join me as a VIP guest as we go behind the scenes at a super secret party to celebrate the launch of several new synthesizer and groovebox products from ROLAND in 2019 and 2020. I'll give you an overview of the new synths and my first impressions."
"This time I went to Abbey Road Studios for a Roland VIP event where they unveiled the MC-707, MC-101, JUPITER-X, Jupiter-Xm and more. And Youngr performed live!"
"Quick performance with ROLAND MC 101 Groovebox with ABLETON LIVE and NOVATION LAUNCHPAD. Just a little demo to show how it can be used as an external sound module together with your favorite DAW software sequencer. You'll be able to hear some of the drums and Zen Core synth sounds that this little machine has to offer, the same as the ROLAND MC 707."
"There is something very unique about this MC 202. For one, as you can hear from the recordings, it has a little bit of a harder, edgier sound than other 202's. I don't know if it's due to the modifications or just the fact that no two analog synths are alike, but this particular 202 sounds good! It can go from a total acid box to a bass monster that transcends musical genres.
The sound of the 202 is generated by a Curtis CEM3340 analog Voltage Controlled Oscillator IC. This VCO is the same that is found in the Sequential Circuits Pro One. On offer are a Saw, a Square (with Pulse Width Modulation), and Sub Oscillator wave shapes. What's great about the 202 is that it let's you mix in waveforms so that complex wave shapes are possible without much fuss. Also, since the sliders in the VCO section attenuate the LEVEL of each waveform, the control one has with the 202 is different from other synths (like the Pro One) that only allow you to switch waveforms on and off. This is ideal in a live or recording setting when an individual wishes to seamlessly transform a saw wave into a massive Pulse-Width modulated square or feed in the deep sub-oscillator.
The filter is a genuine Roland IC. This filter has SQUELCH! Many claim that the 202 sounds similar to the 303. I would have to agree but with an amendment: while the 202 will do TB 303 type sounds with little trouble, the filter is much better and more versatile than a 303 filter could ever be. Basically you can go into self resonating sine waves or deep and rumbly sub-bass that rival any other monosynth of this era. If you are looking for a synth that can be as much Roland SH 101 as a Roland TB 303, then this is the box for you. The fact is that since the filter is so versatile, a myriad of sounds are possible. The filter is extremely tweakable and the sweet spots are not hard to dial in as on other filters (meaning that the filter has been calibrated to provide the best response when attenuating from completely open to completely closed and vice versa). Also, the filter takes on a whole different characteristic when combined with the modification for the LFO.
This particular Roland MC 202 has been modified so that a switch on the front panel permits the LFO's frequency to double. What that means is that with this switch, the user is able to set the LFO to oscillate at audible frequency ranges. What's great is that the user is still able to attenuate the LFO speed when the frequency is doubled and when put back into the original position, the stock frequency range is still present. This modification is mental. If you set the filter to self oscillate and then feed some LFO modulation via the MOD slider in the VCF section, the user is able to generate some serious clangs. I have an Arp 2600 and some of the sounds you can get with this mod border on the 2600's territory. Also very cool is that this frequency doubled LFO will go anywhere that the LFO goes to so you can do FM Pulse Width Modulation or modulate the pitch of the Oscillators to get FM sounds that are out of this world. And since the switch is mounted right on the front panel, the user can flip back and forth between the LFO rates on the fly while the synth is being played. With the sequencer running and tweaking some knobs and the mod switch, the sound palette is HUGE!
The envelopes on the 202 are extremely fast. Anything from percussive and tiny clicks to in your face basses are possible. On board is a complete ADSR that can be used to tweak the amp, the filter, and the pulse width of the square oscillator wave-shape. Also great about the amp section of the 202 is the fact that the envelope can be switched off and a gate can be used to open and close the amp instead of the ADSR. This frees up the envelope for filter duties and the sounds are great. Imagine resonant bass sequences that hit hard but still sound even after the filter closes. Because the envelopes are so fast, the 202 is able to produce some very heavy sounds. When combined with the sequencer, the gated VCA response yields the much sought after 303 sound.
The 'brain' of the MC 202 is the onboard sequencer. First of all this sequencer will clock to Din Sync (so use something like a Kenton or Doepfer MIDI to Din Sync Converter) so integrating it into a modern set-up is easy. Second, the sequencer is a two track sequencer meaning that in addition to sequencing the internal synth, the 202 can send a DIFFERENT sequence to another analog synthesizer. This is really a big advantage if you have other synthesizers that have cv and gate inputs. The sequence will also transmit PORTAMENTO (slide) over the cv output so you can get THAT signature Roland slide integrated onto another synth! The sequencer itself is very straightforward to program and once the basics are learned, it becomes second nature. The fact is that this sequencer is much better than the TB 303's sequencer because crazy rhythms are possible. Triplets are a breeze. The user decides whatever subdivisions for each step and also regulates what kind of note a step is (meaning if it's played legato, staccato, or tied to the next note) and if it has accent and slide. Since the accent can be routed to accent the AMP and the FILTER, the infamous 303 sound is possible. Seriously, this sequencer is amazing and is able to replicate the intricacies of a TB 303 without a problem. However, it can do SO MUCH MORE than the humble silver box could ever dream of doing! In any case, enough of my blabbing! Search around on the web and take a look at some youtube videos of this box in action and you will see just how amazing and versatile this box is.
The modification has not hampered on the performance of this synth and electronically the beast in excellent (just listen!). There were other mods performed for this particular MC 202 and mostly they were done for the previous users integration preferences. The CV and Gate inputs have been disabled. This really doesn't matter as the MC 202 would route external CV and Gate data through its ancient microprocessor and there was no real way to play it accurately over these inputs. The user (and I can provide A LOT of resources for this and additional MODS) can open the box up and modify the unit to have PROPER CV and Gate inputs if they so desire. For me, this box was best used with the internal sequencer. Also, the buzzer that clicks when edits are made was bypassed and the Din Sync OUTPUT sends Clock but no start stops. This is INTENTIONAL because when we needed to send DIN from the 202, we used a button switch to start and stop other Din Sync units so that we could, on the fly, start and stop a Roland TR 808 independently of the 202 or anything else. The unit slaves to external Din Sync without a single problem whatsoever. This is a great synth that sounds absolutely mental. Bid with confidence and take this chance to own a totally CUSTOM 202!"
Update via pac in the comments: "The 202 is soundwise a slightly stripped down version of the SH-101 (no noise generator) - it should not be compared to the 303 which has a different architecture. That said many "acid classics" in the 1990s were actually done with 101/202 rather than 303. For all the mod instructions check cykongs mod page http://www.cykong.com/Synths/Roland%20MC-202/RolandMC-202.htm and do a search on the "novamod" for the 101 (similar circuit - similar mods)"
"A Behringer Pro-1 & Roland MC -101 Version of Yazoo's 'Chinese Detectives'
I can't find a lot of information about this little known Yazoo track other than I remember it being played when I went to see Yazoo live in 1982 [Newcastle City Hall] During the track being played Vince was playing around with a video camera filming audience members and displaying the footage on a large screen above the stage.
I did find the following reference from an online Yazoo fan site:
'This song was only refered to as China and it eventually became I Before E Except After C, stripped back to the drumtrack...'
As far as I know this track was never officially released.
As always, the track is played 'live' in one take - with no DAW, editing or post production.
Recorded live 16/11/2019.
Also Used:
Arturia keystep [PRO-1]
Roland Boutique JU-06A
Roland Aira TR-8
Zoom MS-70CDR"
"This is an analog synthesizer/sequencer. It sounds very much like the TB-303 and SH-101 bass synths. It has a very evolved form of TB-303 like programming (more like the MC-4) and SH-101 like controls of the VCO, VCF, VCA, LFO, Envelope and Mixer sections. The LCD display is a great feature too.
The MC-202 was sort of a next-generation TB-303. So the idea was to program sequence/patterns into it internally which would give you those 303 basslines that we've come to love. You can control it externally by hooking up a MID-CV/Gate converter. Then you basically have yourself an SH-101!
The sequencer is actually a 2-channel CV/gate sequencer, with both channels being capable of driving a separate external synth. It's a very useful unit, also, for its DINsync capabilities; it can receive on one port, and send over two, and also can 'split' DINsync to branch a sync signal out to multiple devices.
This machine is best for those who want to get 303-like patterns (it has accent just like the 303) and basslines with an SH-101 sound. If you can handle programming the notes into its sequencer you can have a lot of fun.
The MC202 is a sequencer and simple monophonic synth with 32 buttons arranged like a small keyboard (F-C).
The monosynth is similar to the SH-101. The VCO is based around the ever-so-popular Curtis 3340 chip and features a slider switch for octave (2', 4', 8', 16'), a slider for pulse width, and one for modulation (LFO) amount. The VCO outputs a square/pulse wave, a sawtooth wave, and a sub-oscillator which are mixed together in the "Source Mixer" section. The sub-oscillator is switchable between a square wave 1 octave down, a square wave 2 octaves down, and a pulse wave 3 octaves down. There are knobs which control fine tune and portamento. The VCF section has a slider for cutoff frequency and resonance. There is a slider for each of its control sources: envelope, LFO, and keyboard. The VCA can be controlled by a simple gate or the Envelope. The envelope is an ADSR with a slider for each stage.
The sequencer is quite powerful for its time. The MC-202 features a large (for the time) LCD display, upon which all the sequencing editing is displayed. The two available sequences can be played simultaneously using the CV/gate outputs to control another sequencer. The sequences can have a combined total of 2729 events. Sequences can be entered in real time via the pushbutton keyboard or via another keyboard using the CV/gate inputs. This feature has a negative side, though. Since all incoming CV/gate signals are routed through the microprocessor, there is a bit of a lag when the MC-202 is played by a another keyboard or a MIDI-to-CV device. The Sequences can also be programmed using step-time, setting a separate pitch and duration for each note. Also programmable in a sequence is accent and portamento. Accent works the same as in the TB-303, with an accent amount knob that can be adjusted in real time as the sequence is playing. The speed of the sequence is also controlled by a knob.
The back panel has a sync input and two sync outputs, a tape interface for saving and loading sequences, CV/gate inputs and two CV/gate outputs (one for each sequence), a headphone jack, and a main output jack.
The MC-202 came out at a time when the synthesizer market was just starting to impliment MIDI. After MIDI became an accepted standard, sequencers such as the MC-202, using the old-style CV/gate interface, quickly lost popularity and died away."
A new synth engine embodying nearly 50 years of experience
Anaheim, CA, January 15, 2020 — Roland (NAMM Hall A, Booth #10702), announces the ZEN-Core Synthesis System, a powerful new engine found at the heart of the company’s latest (and future) electronic instruments. With ZEN-Core, Roland applies the wisdom gained from nearly 50 years of making world-leading analog, digital, and hybrid synthesizers to create an adaptable new platform that both embraces the legendary and looks to what’s next.
Through ZEN-Core, Roland assures a consistent level of sonic quality and expression regardless of instrument. With the confidence of access to the same, growing library of compatible sounds that they can share and exchange, musicians and producers can focus on choosing hardware with features that best suit their application, playing style and workflow, from performance and production synthesizers to GROOVEBOXES, stage pianos, and more.
With the forthcoming system updates, owners of FANTOM 6/7/8 Synthesizers (Version 1.50*), JUPITER-X Series Synthesizers (Version 1.10) and RD-88 Stage Pianos will be able to start using the same compatible sounds across all models, adding a new collaborative capability to their instruments. An update for the MC-101 and MC-707 GROOVEBOXES will also be available in Q2 2020, with an update planned for AX-EDGE later this year.
ZEN-Core base engine tones created on one instrument can be shared with other users or transferred into completely different compatible Roland hardware. Performers can take sounds made on a FANTOM and play them in the spotlight on an AX-Edge Keytar, or perform a JUPITER-X synth patch on an RD-88, dramatically simplifying setup and expanding tonal options. Sounds are easily shared with a bandmate or co-creator, even when using different compatible Roland hardware. With ZEN-Core, users have access to the sounds they want, in the format they want, wherever they produce or perform.
The Roland ZEN-Core multi-timbral engine combines the latest Virtual Analog and PCM (up to 256 voices) synthesis techniques with powerful DSP effects. Advanced synthesis features include new VA oscillators, precisely modeled filters, ultra-fast and smooth LFO and envelope modulators, and high-resolution control of primary editing and performance parameters. Sounds created for the base engine will be compatible across all ZEN-Core instruments, opening-up a world of opportunities for creators and sound designers alike.
ZEN-Core supports instrument-specific ZEN-Core Expansions including Analog Behavior Modeling for the JUPITER-X series and V-Piano for the new FANTOM Series. Further ZEN-Core expansions will soon arrive for other instruments in the Roland ZEN-Core family.
For more on Roland ZEN-Core, please visit Roland.com.
*Beta version as of today. Official release is planned in late January 2020.
Roland MC-8 Factory Demo Program - Bach Invention #1
Published on Feb 1, 2010 peahix
"This is another of the demo programs provided in the Roland MC-8 manual. This time it's a Bach Invention, played back on a Roland SH-101 synth (not seen in the video). The first part of the video is specifically designed to bore you with stunning footage of me entering the channel 1 CV data for the first 3 pages of the 10-page score. Be thankful that I didn't decide to include the entire CV/Step/Gate data entry process for the entire score. In the 2nd part of the video, you hear the entire mixed piece, played back in sync with the MC-8 displaying the CV data for channel 1.
After posting this video, I was informed that Yellow Magic Orchestra featured this very same demo at the very end of the show during their 1980 world tour. You can hear their version here: http://www.youtube.com/watch?v=l1qocP...
For more info about the MC-8, and to see high-res scans of the score & program data sheets for this piece, please visit http://www.rolandmc8.wordpress.com"
"I owned an MC8 from 1982 to 2002 and used it on many recording (I bought it from Landscape, who recorded 'Einstein agogo' with it). An article I wrote about the MC8 can be found here."
Details:
"This is the Roland MC-8 MicroComposer. They called it a MicroComposer due to its diminutive foot print. Actually, that isn't true. It was designated as the MicroComposer as it was the first microprocessor controlled sequencer - the Intel 8080, to be precise. In addition to launching the 'MC' moniker, it also introduced other innovative features like copy and paste.
So, if you were an electronic musician in 1977, you could drop $8000 and string together 1000 or so notes with Japanese precision.
The MC8 provides eight channels of CV and gate outputs for controlling inputs found on synthesizers from Moog, Roland, Arp and others. I used this with a Doepfer A-100 modular, Prophet 5, minimoog and SH-101. There is no MIDI, this is all about a microprocessor coupled as directly as possible to analog voltage outputs.
If you're sequencing drums, you don't have to waste the normal CV outputs (and consume memory with unnecessary note data) by using the additional MPX outputs. You can even automate tempo and the presence of portamento. Or, you could use the MPX outputs in conjunction with a sequential switch to control which of several envelopes are used for a particular phrase. They were clearly thinking of serious, complete automation here.
Controlling it all is an impressive console that looks as if it were responsible for launching ICBMs. It certainly feels that way as all the controls and switches seem designed to withstand a nuclear blast. It worked, too. 30 years later, this machine still works great. If you're at all familiar with a 10-key keypad, you can enter data in by touch, without even looking at the unit. The response of the keypad is delightfully retro and a joy to use. All the buttons have satisfying physical feedback that seems absent on current gear.
The MC-8 was expensive for Roland to build, though. It is reported only 200 left the factory. This is a rare chance to own a unique piece of Roland history. I'm selling this and other items because my work area needs to occupy a smaller space.
Famous users of the MC-8 are reported to include: Kraftwerk, Human League (Dare), Tangerine Dream, Hans Zimmer, Toto, and Tomita.
Included in the auction is the original factory manual, interface cable, CV interface unit and, of course, the MC-8 itself."
Update: a better HD video is now on Vimeo here.
Spoiler alert: watch before you see the list of synths further below.
"the video for the first single "Caught in a Riot (Feat. New Moscow)"
of Anderas Tilliander's new album "Show". The video was shot during
one day with a Nikon D90."
video description
"This is the video for the first single "Caught in a Riot (Feat. New Moscow)" of Anderas Tilliander's new album "Show". The video was shot during one day with a Nikon D90.
Idea, script, photo, cutting, postproduction and direction: Olof Werngren
Featuring: Andreas Tilliander
Extras: Maja Atterstig, Magnus Bjerkert and Annette Persson
Warm thanks: Annette Persson Björn Stegman Cervera Erikshjälpen Malmö Erikshjälpen Åkarp Fredrik Holm Andreas Hörlén, JAM Malmö Joel Arvidsson Johan Hedelius Maja Atterstig Max Lodin Moa Björnsson Myrorna Malmö Oktawian Gornik Pontus Wickman
Spoiler alert! Stuff I spotted (let me know if I missed any):
Oberhiem SEM
Roland TB-303
Roland MC-303
Roland MC-202
Roland TR-606
Clavia Nord Lead Anniversary edition with reverse keys
KORG EA-1
Roland TR-707
Roland TR-909
Roland SH-101
DIY Modular (Suitcase and one other)?
KORG Vocoder
Roland MC-909
Yamaha CS5
Arturia Analog Factory Controller
Roland D-50
Roland Jupiter-4
Moog Voyager
"From ten years ago, a paper catalogue from the VEMIA auction. 24 pages, tiny print, and not well printed - but just about readable everywhere. A couple of illustrations (not high quality!!) - of a massive Roland System 700 and the even bigger Yamaha EX42.
Fun to look at the prices - many of them not the final bids, but all already over their reserves (there are no hidden reserves in this auction) .
That means that in November 2000, you could have had a chance of winning the following (with prices in pounds sterling):
Two Siemens V72s, 440GBP; Vortexion tube amp 23GBP; Roland CR-78 230GBP; Roland TR-808 500GBP; Crumar Jazzman 95GBP; Hohner Clavinet 1 140GBP; Clavinet/Pianet Duo 260GBP; Wurlitzer EP-200 450GBP; Ashly SC-68 140; AKG BX20E 100GBP; Six Audio & Design SCAMP modules 130GBP; BBC EQs in a rack 50GBP; Binson Echorec Baby 280GBP; Binson Tube Reverb 350GBP; Carlsbro Flanger 85GBP; Dynacord CLS222 145GBP; Dynacord TAM19; Echolette SEV66 Vocoder; Echoplex tube model 240GBP; EH Small Stone original 55GBP; EH Talking Pedal 260GBP; Four EMT 256 II compressors and two de-essers 755GBP; Moog 12-Stage Phaser 580GBP; Roland Funny Cat 160GBP; Roland RE-201 190GBP; Roland SRE-555 240GBP; Ursa Major Space Station 450GBP; Reslosound Ribbon 75GBP; two Sennheiser MD421s 250GBP; two Tannoy mics from the House of Commons 45GBP; Two EMS Presto patches 60GBP; Korg MS-03 110GBP; Korg MS-04 110GBP; Optigan Stereophonic Deluxe 220GBP; RSF Kobol Programmer 450GBP; BBC Outside Broadcast four-channel passive mixers 90GBP; Roland VCA800 / CPE800 units 115GBP; Telefunken 12/2 mixer 200GBP; ARP 2600 Blue Meanie (aka Blue Marvin) 1450GBP; EMS Synthi AKS with all EMS mods 1770GBP; EMS Synthi-E 600GBP; EMS VCS3 1900GBP; Korg MS-50 680GBP; Roland System 100M five-module system 880GBP; Roland System 700 complete 9950GBP; ARP Odyssey white-face 480GBP; ARP Pro Soloist 150GBP; EDP Wasp 280GBP; Hohner Bass 28GBP; Korg M500SP 75GBP; Korg Sigma 180GBP; Moog Minimoog 900GBP; Moog Prodigy 270GBP; Oberheim OB-1 460GBP; Octave Cat 330GBP; OSC OSCar 840GBP; Roland MC-202 200GBP; Roland SH-101 190GBP; Roland System 100 101 330GBP; Farfisa Compact Duo 500GBP; Hammond F-100 Extravoice 150GBP; Moog CDX 430GBP; Yamaha EX42 GX-1 look-alike 1250GBP; Vox Continental 300 240GBP; Yamaha YC-45D 280GBP; Elka Rhapsody 610 85GBP; Gleeman Pentaphonic 1270GBP; Moog Memorymoog Plus 1450GBP; PPG Wave 2.3 800GBP; Roland Jupiter 6 580GBP; Roland Jupiter 8 (JP8) 680GBP; Roland VP-330 400GBP; SCI Prophet 5 rev 3.2 760GBP; SCI Prophet 5 with Kenton MIDI 900GBP; Korg SQ-10 250GBP; Roland CSQ-100 34GBP; Roland MC-4 250GBP; a hundred CEM 3396 chips 100GBP; Leslie 147 360GBP; Ampex 351 980GBP; Studer C-37 300GBP."
"I have an original Roland MC-202 MicroComposer analog synthesizer which comes in its original box and contents. I purchased this in Japan and the previous owner barely used it! The MC-202 is in excellent condition and even comes with original sealed manuals and original Roland factory cable which are unused.
The modification has not hampered on the performance of this synth and electronically the beast in excellent (just listen!). There were other mods performed for this particular MC 202 and mostly they were done for the previous users integration preferences. The CV and Gate inputs have been disabled. This really doesn't matter as the MC 202 would route external CV and Gate data through its ancient microprocessor and there was no real way to play it accurately over these inputs. The user (and I can provide A LOT of resources for this and additional MODS) can open the box up and modify the unit to have PROPER CV and Gate inputs if they so desire. For me, this box was best used with the internal sequencer. Also, the buzzer that clicks when edits are made was bypassed and the Din Sync OUTPUT sends Clock but no start stops. This is INTENTIONAL because when we needed to send DIN from the 202, we used a button switch to start and stop other Din Sync units so that we could, on the fly, start and stop a Roland TR 808 independently of the 202 or anything else. The unit slaves to external Din Sync without a single problem whatsoever. This is a great synth that sounds absolutely mental. Bid with confidence and take this chance to own a totally CUSTOM 202!"
via this auction
The MC-202 was sort of a next-generation TB-303. So the idea was to program sequence/patterns into it internally which would give you those 303 basslines that we've come to love. You can control it externally by hooking up a MID-CV/Gate converter. Then you basically have yourself an SH-101!
The MC8 provides eight channels of CV and gate outputs for controlling inputs found on synthesizers from Moog, Roland, Arp and others. I used this with a Doepfer A-100 modular, Prophet 5, minimoog and SH-101. There is no MIDI, this is all about a microprocessor coupled as directly as possible to analog voltage outputs.
