Desk Jam No. 3

video upload by Slightly Nasty

"Back to basics this time. Just the Slightly Nasty modular on its own, no keyboard or sequencers, with delay and reverb courtesy of Pure Data (and controlled via TouchOsc, which I really don't use enough!)."

Desk Jam No. 2

video upload by Slightly Nasty

"Slighty Nasty Modular and very crusty tape echo.

Felt like doing something a little more primitive this week. Ping-pong tape echo from the Akai 4000DB and some very worn-out tape, all sounds coming from the modular patch."

Desk Jam No. 1

video upload by Slightly Nasty

"Live jam with the RITM-2, Slightly Nasty Modular, tape loop, Korg Monotribe & Monotron, Roland MKS-7, and Akai S3000XL.

Didn't really know where to go with this one, so there's plenty of desperate noodling on the RITM-2 to in an attempt to buy time."

Soviet RITM-2 Synth and Loop Pedal

video upload by Slightly Nasty

"Noticed there weren't many videos of the Soviet/Russian RITM-2 monosynth on Youtube, so here's a little improv that I originally recorded for Insta.

This one I've modded with a suboctave circuit using Soviet-era germanium transistors, which definitely extends the versatility of what is otherwise a fairly limited single-oscillator Moog clone with... 'interesting' build quality.

Reverb is a custom LV2 plugin I've been playing around with with for a little while."

4U Modular Synth Parts & PCB Serge CGS Clee Slightly Nasty

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

via this auction

"Serge, CGS, CLEE, Slightly Nasty, 4U Modular Synth Parts & PCB

This collection is all 4U format. These are not Eurorack format.


The front panels are all unique and custom made. The panels are based on the 'Loudest Warning' standard.

Panel height is 175mm and 2mm thick, made from anodised aluminium.

A lot of the panels already have hardware fitted, some have loaded PCBs (please see photos).

Everything in the photos is part of the whole auction lot.


Below is a list of items included.


The racks are listed and associated PCBs are listed nearer the bottom of the list (All Untested)

Not all the panels have complete hardware (see photos)

All panels are fixed to Eurorack rails(see photo)

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Strakal Silisiom : Short Audio Demo

video upload by Robotopsy Robotopsy

"Short Audio Demo of the Strakal Silisiom from TouellSkouarn.

The two fuzzes share the same controls. The Fuzzes and EQ are slightly differents (great for strereo). You can output the Stereo signal by plugin a stereo cable or you can output a mono signal : Fuzz1 - clock wise or Fuzz2 - counterclock wise, or a mix of the 2 fuzzes by turning the morphing pot.

Very characteristic for the module´s sound if the feedback that is coupled to the Fuzz. The more fuzz, the more feedback - the Strakal Silisiom can get pretty nasty and it screams a lot at high fuzz settings and low input level. The fuzz amount can be voltage controlled, morphing also. Can be use as a mono Dual fuzz or a mono input / Stereo output Fuzz."

Leploop V2 Rare Italian Handmade Analog Synth / GrooveBox w/ extra wooden case

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

via this auction

"This is such a gnarly beast. Legendary Leploop Cassa kick drum, 2 VCOs with nasty ring mod and an aggressive VCF for all your acid and experimental filtering needs, PLUS generous CV connectivity. Comes with original power supply and extra wooden case.

I've loved this thing ever since I bought it on the say-so of Chris Carter of Throbbing Gristle and Chris & Cosey, who said (about the v1, less connected version of the synth): 'I’ve used a lot of synths over the years but this one is something different… it’s a strange instrument. It’s small, much smaller than it appears in photos: it is part synth, part drum machine, part multi-track sequencer. I’m still figuring it all out but initial impressions are that it’s very unpredictable and slightly unstable… but in a good way. The LepLoop will definitely become part of my CCCL experimental arsenal and will most likely get seconded into the upcoming Throbbing Gristle experimental sets in October/November 2010.'"

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Dystopian Jam

video upload by Slightly Nasty

"Just a quick improvised dystopian jam on the ever-wonderful Akai X7000 sampler from 1986. Drums are coming from the Akai S3000XL, bassline is Slightly Nasty modular, and Drone is Roland MKS-7."

Slightly Nasty Modular - Percussive Patch

video upload by Slightly Nasty

"Just a fun multi-part percussive patch with some gnarly bass wubs. Two outboard reverbs providing a bit of ambiance."

Slightly Nasty 4U Modular

This one was spotted and sent in via Martin Gnägi.

Playlist:

Slightly Nasty Modular, Roland MKS-7, and Akai S3000XL
Slightly Nasty Modular - Cinematic Jam
Slightly Nasty Modular - Techno Jam
Five Video Game Covers in Five Minutes
The Model 1011 Discrete VCO
Slightly Nasty Modular Jam
Pit Bull DM-1S - Metal Demo
Slightly Nasty Modular - 8 bar sequence jam
Slightly Nasty modular - dirty cyberpunk bass

Current module line-up via https://www.slightlynasty.com:

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OB-Sx Voice Cards

This one came in on the AH list from Tony of Oakley Sound. The AH list is archived and public so I thought I would capture it here in the MATRIXSYNTH archives as well, and of course to share it for anyone not on AH that might be interested.

"A long somewhat geeky post...

Oberheim had a history of creating vast numbers of 'engineering change orders' (ECO). Essentially changing their designs during the lifetime of the product, ECOs are notes for official modifications done by the factory during manufacture or authorised repair technicians in the field. ECOs are useful tools to allow the manufacturers to improve on their original design, perhaps because of updated specifications, new found parts or deal with component obsolescence. However, quite often they are used to fix things that should have done properly in the first place.

There must have been many ECOs regarding the Oberheim OB-Sx but not all of them are available online. I have an original service manual but the ones in there are the same as these:

http://www.synthfool.com/docs/Oberheim/ECOS/OBSX/

In addition to these this is what I've found out about the voice cards on the OB-Sx.

1. There are at least two types of voice card. The primary difference appears to be the addition of a -15V supply. This requires a different voice motherboard as the power is now admitted via a 5 way connection and not the original 4 way one. The -15V seems to power only the post VCA op-amp. I've not come across any clipping issues in the post VCA amplifier in early cards so I'm not sure what the reason is.

I think newer cards can be used in OB-Sx units with older motherboards simply by linking the two outermost pins of the 5-way connector that takes the power onto the card. Any new card will then behave as an older one.

2. The early voice card was originally designed to use the CEM3340's linear FM input for the 'cross mod' feature. All the older voice cards I have seen have a mod whereby one of the tracks is cut and a bit of wire added to link the cross mod path to the exponential FM input. This was corrected on the newer boards with a different track layout so the modification is not required.

3. All the early voice cards I have seen have an additional 100pF ceramic capacitor mounted across one of the two diodes in the feedback path of the VCF. The capacitor was added to the board layout in the later version of the card.

4. All of the early voice cards I have seen also have an additional 330pF ceramic capacitor connecting pin 11 of the CEM3320 to 0V. This appears to make the unused and externally unconnected gain cell in the 3320 behave the same as other two in the SVF. Why I'm not sure but it could be to prevent the unused cell from oscillating and bleeding through into the audio. The 3340's datasheet seems to be happy leaving it off. This additional capacitor was added to the board layout in the later version of the card.

5. I have seen one early version of the card, dated August 1982, where another modification is added to the underside of the board. This connects pin 8 of the CEM3320 to 0V with a 1nF ceramic capacitor. This does not seem to have been applied to the second version of the card so it is possibly fixing a problem only detected after the second voice card was designed, or perhaps it only affects the early cards. It is probably a problem caused by the physical layout of the PCB.

On preset B1 and with the cut off set to full the problem can be clearly heard, but it is present on other sounds too. At high cut-off frequencies and at low resonance the CEM3320 in the OB-Sx oscillates in nasty way and creates a unpleasant roughness to the sound. Adding the 1nF capacitor prevents the unwanted oscillation. However, I have found that one needs only 56pF to work rather than the 1nF Oberheim used. Adding this capacitor does have a slight knock on affect on the sound even when the filter is not unpleasantly oscillating - it now sounds slightly more polite. The pros outweigh any of the cons in my opinion.

What is interesting is that the same filter circuit is used in the OB-Xa and no such capacitor is required. I guess then that it is PCB layout and not the circuit itself that is misbehaving. It may also be dependant on the batch of CEM3320 used.

6. Later versions of the early card and all the later cards I have seen have another possible layout correction. The tracks going to the 470R/10nF series combination on the CEM3340's linear FM input on each VCO have been cut. A clumsy bodge on the top side of the board then recreates the required series combination but this time physically closer to pin 13 of the CEM3340. I can only guess that this problem was found only after the later card was designed as it is not corrected there. That the mod appears on both many early and all later versions of the voice card means that Oberheim were clearly producing both cards at the same time.

7. The later version of the voice card has an extra trimmer used to set the maximum resonance of the filter. On the older board trimming is set by swapping out resistors.

Tony

www.oakleysound.com"

DSI PRO 2 SYNTHESIS TUTORIALS

DSI PRO 2 BASS DRUM SYNTHESIS TUTORIAL ~ Synthesize This! Ep.01

Published on Dec 9, 2016 once upon a synth

"A tutorial on how to synthesize bass drum sounds on the DSI Pro 2 synthesizer. Synthesizing a bass/kick drum is relatively simple. The main idea is to simulate the response of a membrane being struck by a mallet. The crude approximation involves a sine wave whose frequency starts off really high but quickly drops down. The sine wave is achieved either via a sine wave oscillator directly or via a resonant low pass filter during self oscillation. In both cases, the sine wave's frequency is modulated via an ADSR envelope generator. In this video I demonstrate both approaches as well as adding effects like distortion or some of the character FX on the Pro 2. Finally I end with a simple demonstration of what the Pro 2's bass drum sounds like along with a Korg Volca Beats which I've synced via MIDI.

Let me know in the comments below if you guys have any other tips with regards to synthesizing kick drums. I'm still learning all this stuff so hopefully we can help each other out!

~~~ TABLE OF CONTENTS ~~~
00:36 - Theory
00:59 - Synthesis
06:44 - Demo"

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ARP Odyssey 2800 MK1 Whiteface with New England Analog PYSIX Aftertouch Mod & Space Panels

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

via this auction

"This is a truly awesome and rare synth to come across. While containing the original vintage parts, this synth was also modified to enhance the playability and look.

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Grand MOOG Piano ~Flour Sack Towel~ Kitchen Tea Towel

Note: Auction links are affiliate links for which the site may be compensated. via this auction
"ONE BRAND NEW
"Grand Moog"
Tea Towel
Hand Screen Printed in Denver, CO

The design is an original graphic I created while dreaming up an instrument that coul possibly be cooler than my old double decker organ with the full third key set for your feet!!!

The Grand Moog was the result. It is a hybrid of numerous Moog Synthesizers and a real baby grand piano rendered from a photo and integrated into this one of a kind Dream Instrument concept.

This Towel was professionally hand screen printed with black water based ink.
The towels will arrived rolled and tied with a label as seen in the pics.

Flour sack towels are the best way to dry your dishes, cover your pastries, or just to decorate your kitchen.
And the more you use them, the softer they get!

* The Towel Measure approx: 32"x32".

* Flour sack Towels are 100% unbleached white cotton, because of this there may be small specks,minor imperfections,or slightly lighter colored threads.

It adds to the authentic "vintage" charm not mention it is more environmentally friendly not releasing all those nasty dioxins into the rivers from bleaching the fibers.

*They are also SUPER absorbent and dry in a flash when you spread them out, no more soggy dank towels laying around.
.
*CARE INSTRUCTIONS: Machine Wash Cold or Warm Water. They can be machine dried but hang dry is recommended - remember these thing are designed to dry in a flash.

Check My Store For More Unique Housewares!"

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SEPPUKU FX - SUB OCTAVE SYNTHESIZER

YouTube via diamondskeletonfx — October 30, 2009 — "AVAILABLE AT HTTP://WWW.SEPPUKU.COM"

via this auction
"Seppuku Effects
Sub Octave Synth
Hand Painted, one of a kind

The sub-octave-synthesizer takes your guitar signal, adds some fuzz, brings it down, either one octave with very smooth tracking, or down two octaves with slightly glitchy tracking and blends it back together with the fuzzy signal.

The filter lets you dial in big thick bass, thin and nasty treble or any where in between. By playing multiple notes at a time you can make cool pitch jumping, pulsing or wobbly tremolo effects. With the filter on it turns into crazy, psychedelic filter sweeping, pitch jumping futuristic sci-fi madness. You can roll back your guitars volume knob to change the frequency of the filter sweep or do it while you hold a note to make cool wah style sounds.

CONTROLS
• Blend: mixes between boosted guitar signal and octave down.
• Filter: controls two filters by 1 knob.
• Glitch Toggle: selects one octave down smooth tracking, or two octaves down
glitch tracking.
• Volume.

All pedals have true bypass and are built in solid Aluminum enclosures. Their built tough to last on the road.

They need to be powered by a 9V centre negative pedal adapter. They can't be powered by batteries."

M-Z3R0 - circuit bent TR-505 - 5QU4R3W4V3

YouTube via manufacturedZ3R0
"Modified in a similar way to my other 505 except this one was already 'perma bent' to a minor degree when i picked it up. The drum sounds have always been slightly odd and the toms and low conga sound strange when you turn the pitch up beyond it's standard setting. Building a distortion circuit into it proved to be a major headache due to it's bizarre flaws so i took a look at www.burnkit.com and found a cool square wave injection modification there. It may not have the nasty edge of my other tr505 built into it but it has a larger range of sounds. It still sounds cool through some distortion though so at 2.59 i processed the audio in soundforge through the ohm boys vst plugin ohmicide before compiling the video. Ohmicide is the best vsti distortion out there in my opinion and gives a good example of how cool this thing would sound through some decent hardware fx.

Thanks to the guys at www.burnkit2600.com for putting the time into their site and sharing so much good info on not only the tr505 but the 626, hr16 and lots of other stuff."

DIY Filter Demos via Crashlander42

Wasp Filter Clone YouTube via Crashlander42

"Playing with my DIY modular synth. Running 2 XRVCO's and a Yusynth VCO through a Wasp filter (Fonik Version)
Visit my music page @ http://www.myspace.com/isaciongun"

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Folkteck "Arachnid"

images at this auction

"Welcome to the work of Folktek. Please also see our other auctions.

= For information regarding the artist Arius Blaze go to: ariusblaze.com
____________________
= For information regarding Folktek artists including portfolios, sounds and many more works please visit:
folktek.com
________________
= For a direct link to the "arachnid" page of the folktek site including more information, sound samples and more photos please visit: http://ariusblaze.com/soundart/melano/arachnid.html
___________________
= If you'd like to join our friends list at myspace:folktek myspace
___________________
= To see our growing video collection of folktek works go to:
http://www.youtube.com/user/benpumpkin"

The Arachnid is a part of the filanthropod, meanogaster and bug series.

There is a video of the arachnid being played here:

-Arachnid- Folktek instrument by Arius Blaze

"Patchable synth from Folktek going mad chaotic. This is one example of what any of the patchable folktek filantropoid/bug series is capable of...These works are incredibly vast and full of possibility for strange and beautiful sounds on the chaotic end of things - more video examples of other instruments within the same series on our vid page. Note the blue tri-speaker in this video - a custom job by Ben Houston that sounds delicious and looks beautiful! see website for more details Folktek.com and ariusblaze.com"

This piece is part of the bug series, an ongoing body of work. Also in the series is the dronescape sequencer, the growling insect, the bug, walking stick and a many others. The sound is phenomenol and continues to amaze us. It is a sonic symphony of nasty and grimy sweetness, endless layers of sound possibilities emenating from High quality OSC originally based on high tech speech synthesis. Seemingly random bits can be rediscovered time and time again and then there are those moments that you will most likely never rediscover.

The main controls for altering the synthesis are 4 patchable knobs, 2 alternate knobs to control voltage and primary patch sensitivity, 2 patch points per knob with two having a common which allows the player to patch one or both sides, and a 12 point patchbay to arrange your controls however you'd like allowing extreme flexibility over the controls and sound. The battery pack is built into the box. The box is at least 100 years old and was originally designed for shock therapy.

You'll be able to cipher through waveform and textures with extreme sensitivity in thousands of ways. Waveforms (individual, or multiple layers) can be captured and maintained, often intermodulating in beautiful and/or disturbing ways. Albums are waitng to be created here as the sound is quite different from anything else you'll find.

People have also had results using these works as control voltage in modular synth setups.

There are 2 switch button combos that are the primary activating and wave lock controls. One is intended to activate waves either as a button or a switch, the other to capture waves or change the mode. This piece has a 1/4" output, battery pack, eye lamp.

This is one of the more extensive pieces and a fine work for generating some of the strangest sounds imaginable. This series of synthesizers make sounds that no other synth does. period.

The work in the photo is the original arachnid. There have been three total arachnids created by request. This is number three and looks slightly different but has the same 100 year old shock therapy box and same general layout. It has exactly the same controls and potential."

Roland SH-5 Schematics via Mike Peake

Title link takes you to them.
Via Mike on AH:
"Yanking a good filter from a killer synth doesn't replicate the entire experience of a killer synth. So, here's most of it.

The SH5 has a great VCF, which sits somewhere between the TB303 and IR3109. The ADSR plucks slightly harder than the Moog 911 envelope, and this helps make the filter sound even better.

The BPF is one nasty-sounding circuit. Especially in parallel with the VCF! Grind time. I believe that KGS (and associates) have done PCBs for this one.

The VCOs have several aspects of interest. They are not huge-sounding, but have great hard sync tonality, very sweet square waves, have soft sync, etc. Modular users are starting to discover that oscillators are not all alike, so these up the ante.

The ring modulator is unfortunately just a typical 1496 circuit. Drop in a vintage design and this would be one amazing synth...

So, all of the parts add up. There are a couple of PCB trace drawings, for the two oscillators, unfortunately not for the filters. I'd love to have three or more oscillator 2s with the synch functions, especially soft sync.

My System 700 schematics and PCB drawings have seemingly found another owner. Cry. I'd post them if I still had them.

(I also added the EMU lag processor dox. If you can suss the mystery components.)

To enjoy!

-Mike"

Technosaurus Selector Literature and a Selector "Review".

This one in via Mike Peake on AH:

"This may exist in other spots on the web. Good, the more the better. Not enough attention is paid to this machine, regardless of any complaints regarding no new modules etc. It's excellent as it is, as the Minimoog is, for those who can make music without the latest bells and whistles. Remembering that the VCF, with resonance at minimum, cuts very nearly as well as the Moog 904a.

VCO
VCF2
TRES
LFO/Noise
VCA
Cabinet
Technosaurus

This was just submitted to Harmony-Central but here it is for you.

Ease of Use:
This is a very easy to use synthesizer owing to clear descriptions and individual module delineation. It's rather more of an East Coast machine along the lines of the Moog Modular, being more of a keyboard player's instrument for jamming than the Buchla-style machines. If you know the Moog and Moog-based systems such as the Synthesizers.com, you'll have no trouble using the Selector.

Perhaps the only suprise is that some CV modulation values are bipolar, requiring a voltage that can swing to the negative, to access certain parameter ranges (very low oscillator frequencies and PW). This works well with the LFOs, which are bipolar, but the envelopes are unipolar (although they can be switched to negative-going, this is still unipolar but in the opposite direction).

I suggest using a Frostwave MIDI to CV converter to drive it, or of course the Technosaurus MIDI/CV module. This is because the oscillators and filters have an impedance that doesn't match the Encore Expressionist I'd planned to use it with.

Features:
Features are limited to the amount of available modules, which does not include a "control module" with manual voltage outs, offsets, etc. Don't worry about the lack of bells and whistles, there is plenty here to keep synthesists and musicians busy owing to the wonderful sonic character and ease of use.

Good features include the fastest (D)ADSRs on the planet (70uS minimum rise time on the Attack). The VCA is built to withstand such speed, and does not click and thump. Reference: The Minimoog will start to click with rise times faster then around 750uS, and the Mini and Modular envs are around 1ms as a result. Due to this, the Selector obviously allows for extreme percussion sounds. The ADSRs can also be switched to AD types as well. Very thoughtful, very handy. The VCA has extreme dynamic range and is very quiet, so you'll end up with powerful percussion and firm, quiet, very dark bass sounds.

The oscillators are very stable, perhaps too much for my ultra-sloppy vintage Moog pinings, but stand at attention when you switch octaves, etc. The hard synch is good-sounding, and there is a thoughtful output on each oscillator for driving others in HS, so that you don't have to mult out an audio waveform to attain it. The pulse waveforms are very stable, even at the extreme values.

The oscillators are similar to the Moog in that they are not incredibly loud, and as such, don't do extremely deep FM. I haven't using a VCA to try boosting the gain on one yet... The LFOs have high output levels, and go up to around 2KHz, so it's easy to use them for nice FM effects. They are also very wide-range, so you can cross-modulate their CVs from nearly standing still, up into the audio ranges. Very nice. I despise LFOs with "range" switching, which always seems to be right in the middle of a place I wish to modulate through, so these are very pleasing.

The Sample and Hold is extremely stable; I know that Jurg is very happy with it, if he'll pardon me for saying so. It features external and internal clock and sampling source. You can drive it with the LFOs and sample the LFO module based Noise source, and produce modulations that will vary across the entire audible range (very wide CV swings). You do not have to be polite here if you do not wish to be. The S/H module has a smooth random source which is nice to use as the sample input as well. It's not the Buchla SOU, but it's musical and useful (which is how I'd characterize this entire synth).

The envelopes may be driven from the LFOs. A varying trigger voltage produces varying envelope output levels (I used the SH output into the triggers for the amplitude-varying drum sounds in my track "Seance". Search Soundclick.com for that if you're intersted.).

The TRES is an excellent module, both sonically and functionally. Although each band is only variable from 32Hz through 8KHz, each is individually controlled by CV, has individual resonance up to and including self-oscillation, and individual volume. Then the overall volume may be modulated by CV if you wish. There is a handy On/Off switch if you want to tune your oscillators to intervals etc. in the midst of a complicated patch, then switch the RES back in.

The TRES is very musical. I love the way it sounds. I applaud Cwejman and others for their new multiple CV resonator modules, but I prefer the resonant character of the TRES over the MP3s that I've heard. It can sound woody, phasey, whispery, and outright nasty as well. It's the key to the male choral sound I like so much, which requires different CV modulation to two of the bands, as well as each band sitting right at the edge of self-oscillation (that magic place that the digital gear has yet to master).

Very nice are the mults on each module where there is space, such as the TRES. Also nice are the multiple inputs on the Filter and TRES, meant to use as unity-gain intput mixing (the oscillators waveforms have individual volumes!). Multiple outs on the TRES etc. are nice too, for easily patching to multiple destinations, ala' the Buchla!

Sound:
The sounds are very good, although the envelopes or the VCA slopes have their own character, a touch off of what I'm used to on the Moog. It's a very interesting instrument to play, and to find new characters in the filter and TRES. Note: The 12dB Filter 2, with the resonance down, cuts very nearly as well as the Moog 904a, which is my standard for happiness. The filter sounds great, and does very interesting audio-rate FM that sound like no other filter I've used (in a good way, of course).

It's a very responsive instrument. You'll need a CV converter with a built-in LFO, however, as it has no DC-capable VCA.

I am very happy with how easily musical it sounds, and knowing that there is much more there waiting to be found.

Reliability:
The envelopes had a mod, a small daughter board, to ease the load on the power supply. This is because they drain the power supplies... I chose a supply with plenty more amps than the system would require, being a believer in headroom anyway.

My fifth envelope has burned up two chips twice now. You cannot fire all five at once. To be very fair, Jurg has sent out replacement parts in no time flat when I've asked. I have full faith in him and the company in support of the product.

This is the only ugly aspect of this beautiful synth. However, I would not turn down a date with that supermodel, the one with the mole, whose name I can't remember, the smart one who was on Politically Incorrect with Bill Maher, just for the fact that she has a mole...

I bought the system knowing about this, and it's not a big problem. It's disappointing to not be able to fire all five envelopes at once, but I'll survive by creating two individual sounds on the one instrument, that fire individually. And I know that Jurg is there if the need should arise.

Otherwise, the machine has been absolutely brilliant. No bad jacks, no bad pots, no dirty pots after several years of use, etc. The Zebra patch cords I bought from him with the system have never worn out either.

There is an overall cage for the modules inside the case; each module slides in on guides and a socket seats at the rear; machining of the front panels is akin to the System 700, in that it's really good. Very tight. In comparison, the original Moog modules were sometimes as sloppy as their pitches. I don't worry that the PCBs would suffer injury unless the entire case were to be somehow crushed.

Customer support:
Jurg is one of the good guys and deserves your attention and respect. I'm happy to have chosen his synth, and having had contact with him.

Conclusion:
The TRES and filter self-oscillate but only if there is an audio input going on. This is a bit unusual, and limits certain things, however, that is very very minor. It would be nice if the TRES had additional 1V/8va inputs, to ease situations where you want instant keyboard tracking.

I'd certainly buy another, and would add to my current system given the chance. I recommend it to anyone who is into modular synthesis, as the filters and TRES are still unlike other systems.

Looking for a slightly different sonic character???
It's been here since 1996.

A note: System C and D owners know that the empty space in the middle rack can be filled with Eurack-compatible modules. Analogue Systems make a nice LFO/DC VCA keyboard module that would be quite nice in there. Also, a "control" module."