Teenage Engineering Oplab, OP-1 & Korg MS-20

YouTube Published on Jul 17, 2012 by djthomaswhite

"Video recorded in a quiet room with the iPad only showing a loop or two playing in the OP-1 with a 32 beat sequence playing in the OP-1 via the "Endless" sequencer live over the top. Connections equal OP-1 USB connected to Oplab USB Host A with CV1 out and Gate out connected to Korg MS-20. Select Hz/volt and Gate and we're off and running out of the gate. More videos to come soon and with better quality. Had to get these up late night to show it is real, it is here and it is yours for the taking at teenageengineering.com
Go get an Oplab!"

Teenage Engineering Oplab Box Opening

Published on Jul 16, 2012 by djthomaswhite

"A very tired me opening my Teenage Engineering Oplab 1.0 and showing what's in the box (T-shirt not included with standard Oplab purchase) and a quick, dark overview of the physical unit and packaging. No features on display quite yet, but those videos will come soon. The small rubber it's are adhesive feet to be placed on the bottom of the unit, but I will be looking in to some type of enclosure, if only for the bottom, in my spare time soon. I hope you enjoy the preview. There is a second video coming showing the bottom with those cheeky feet installed... And who doesn't love cheeky little rubber feet? My car has 4."

Teenage Engineering Oplab Box Opening Pt. 2

Published on Jul 16, 2012 by djthomaswhite

"Quick couple of notes on the rear of the Oplab and the rubber bits that come with it. More videos to come soon!"

I will Come for You by Audio Illustrator

New track by supporting member, James Newman aka Audio Illustrator of New Man Studios featuring his modular and a few other synths.

I will come for you
I will come soon
I will come for you
one day

I will come for you
I will come soon
I will come for you
one day

Oh Heaven
and Earth
Sing His name
credits
released January 13, 2022
Thank You God for all that You have done.

From Which the Gristleizer Came

Update: be sure to check out the comments of this post for more, including some comments and links to more info from Chris Carter.

In case you missed the update to this post, BugBrand dropped by the comments with the following:

"I'm just about to meet up with Roy Gwinn (literally in a couple of hours time) who wrote the original article back in the 70s for Practical Electronics magazine (he was 16 when he published it!) from which the Gristleizer came.

If you're interested, Clone Analog Gear have a pdf of the article::

http://rubidium.dyndns.org/cag/pdf/gep.pdf

It was published as the Guitar Effects Pedal."

You can see a video of the Gristleizer here.

Update via kapnkrunk23 in the comments:
"Sorry to everyone for the delay. I know everyone is excited about this. We at the shop are super stoked to be doing this. We have had a pretty awesome response from minimal advertisement. So due to the over whelming emails, We are going to start an email newsletter dedicated to replying to your questions. A few of which are about the CV mods. We are still up in the air, but leaning towards adding them. And as you all were wondering about prices, here it is….

PCB $30
Kit without box $100 (PCB and parts)
Kit with box $220 (PCB, parts, box drilled, no powder coating)
Kit with box and powder coating $250 (same as above with finish, and control labeling)
Pedal version $325 (complete. Will be similar to the PE version only with cool graphics)
Table top version $350(A modern reproduction of the original TG black box)

Kits will not come with instructions. Sorry. But will come with the parts list and layout.
The completed versions will come with a limited lifetime warranty against parts and workman ship. Owner will be responsible for shipping.

Please inquire about custom powder coating or using you own artwork. We will have a website up for the shop as well as a dedicated page with a secure checkout. We will be taking pay pal. We will also take check or money order. Pay Pal order will add 3%. Debit and credit cards can be taken over the phone. Pictures and sounds will be up as soon as we complete the first one. Which will be soon!!!!!

If you have more questions feel free to email us. I hope everyone is as excited about these as we are!!!!! I personally have wanted one for a loooong time. THEE return is soon.

Charles Howes
Smashing Guitars

P.S. I would like to thank Both Chris Carter and Roy Gwinn for supporting, and allowing me to do this."

Updates via Chris Carter:
"My original Gristleizers were based around the PE kit (PCB & components) produced by Phonosonics in the UK in 1977. I've never made any secret of this, and in fact for a while had the PE schematic on my site. However, I added some mods of my own and designed a completely new case and made units for myself, the band and friends, probably about 10 in total. Cosey's still works to this day but mine was unfortunately 'lost' shortly after appearing in a exhibition in London a couple of years ago. I'm going to upload some photos of an original Gristleizer to my site soon and I'm currently in the process of building myself a replacement. See here: http://www.myspace.com/ChemistryLessons"

"OK original Gristelizer photos and additional info now available here: www.throbbing-gristle.com/gristleizer and/or here: myspace.com/chemistrylessons"

Update via kapnkrunk23 in the comments:
"Here is a link to our myspace www.myspace.com/theegristleizer . This weekend I will be driving to Chicago to deliver the first of The Gristleizers to Throbbing Gristle. Which will be the official release. Our website will be up VERY VERY soon. I have to say. This has been a very intense project. Which has been a team effort of Endangered Audio a division of Smashing Guitars in Asheville, NC. The passed month and a half Todd Kelley(owner) has been working super late nights removing quirks, looking at waveshapes, turning things, and adjusting them. Truly the brains of it all.

Everyone will be super pleased. We will be publishing mods for it on the EA/SG website. CV in and out pads are included on the boards. We ran tests using Moogerfoogers, and man was it sweet. Keep an eye out on our myspace, TG's website, and as soon as it is up, The EA/SG website where orders will be taken, through a secure checkout. In the meantime, feel free to email us at smashingguitarsasheville@hotmail.com. Thank you all for waiting. It is now time for THEE GRISTLEIZER!!!"

Update: some pics and notes on the new Gristleizer from vav: "Smashing Guitars/Endangered Audio are indeed making a fully authorized Gristleizer available. At the TG show last night in Chicago at the Logan Square Auditorium , 7 were made available for sale. I picked one up, and TG was kind enough to sign it. I even requested Gen sign it next to the AC input, as it's kind of male but kind of female :P She seemed pleased. Here are the photos, and i'll try and get some demos up soon."
Update: audio via vavmusic:

Gristleizer by vavmusic

"Easy-peasy: Korg ER1 left/mono out to Gristleizer in. Gristleizer out to interface in. Recorded straight into Tracktion with no effects applied. Apologies for any digital clipping, Gristleizer is quite unruly. TG fans will recognize the drum pattern. Start of clip effect is bypassed, then put into VCF mode, manual tweaking of Speed, Depth, waveform type, Bias, Level. Switch is thrown from VCF mode to VCA at 1:08, manual tweaking of all controls again." Update via kapnkrunk23 in the comments: "For Immediate Release Smashing Guitars/Endangered Audio Releases The Gristleizer ASHEVILLE, NC APRIL 27, 2009ó Smashing Guitars has announced the release of the first of their new product line, the Gristleizer. The flagship of the newly formed Endangered Audio (a subsidiary of Smashing Guitars), the Gristleizer is an extremely rare and unique unit. Originally designed by Roy Gwinn in 1976, the Gristleizer is based on a design published in Practical Electronics and sold in kit form by Phonosonics. Chris Carter of the British industrial music and visual arts group Throbbing Gristle modified the kit in 1977, unleashing what is known as the Gristleizer. Lost to time, the unit has been re-designed and produced by Smashing Guitars Owner/Engineer Todd Kelley, with assistance from Charlie Howes. After months of research and consultation with Gwinn and Carter, the audio path has been kept original-- "we've taken what people love about the sounds of the original Gristleizer, and given them much more" says Kelley. The Gristleizer had its initial release at the sold out Throbbing Gristle performance at Logan Square Auditorium in Chicago on April 25, 2009, one of their first performances in the USA in 28 years. Features of the Gristleizer include: table top design; 18VAC power supply with dual 9-volt battery operation option; professionally etched PCB board; LFO controlled VCA and VCF filters with four wave forms; chassis mounted bias control; bypass switch; and LED for speed. Pads have been left on the PCB board for mods, with on-line releases of these mods to be made available by Endangered Audio. The Gristleizer will be available from www.smashingguitarsasheville.com, and from the retail store of Smashing Guitars located at 103 Broadway St. in downtown Asheville, NC. The unit will be made available in small batches and will be announced from both the website and www.myspace.com/thegristleizer. The table top version retails for $374.95, PCB circuit board available for $49.95, with a stomp version available soon. Owned and operated by local musicians and engineers, Smashing Guitars is a full service music shop, repair and building facility servicing Asheville, NC and vicinity since 2002. Endangered Audio is their handmade, in house product line. EA is recreating obscure classics as well as interesting original designs of a number of effects, instrument tube amps, tube hi-fi and pro audio projects. All of this occurs by their own staff on the second floor of their facility, "the lab." Any outsourcing is kept local or within the USA. For more information, press only: Dave Harris, smashingguitarsasheville@hotmail.com General Inquiries: Smashing Guitars 103 Broadway St., Asheville, NC 28801 www.smashingguitarssheville.com www.myspace.com/smashingguitarsasheville www.myspace.com/thegristleizer" flickr group shot by Chris_Carter_

"Come Around" - early 1980s style electronic song

Published on Oct 30, 2016 SynthMania

Synthesizers.com modular, Roland CSQ-600 sequencer, & Juno-60. Also see this post.

"A song I'm working on. Recorded all live in one take on two tracks, hence the various mistakes :-D Disclaimer... I'm not a singer... if a real singer wants to sing it, let me know
'Come Around'

Listen
We've come too far
and that is all - she says
and all is gone

Lovers
that much we were
and I believe you now
the soul I share

I've got a long day
true essence in your eyes
true faith
so long so soon

Come Around
the track
tonight

Come Around
the track
Insane

Waiting
For you too long
It's just not fair - she says
It's not for me

Sunset
it looks so blue
the beauty of your eyes
the sound in you

The words you don't say
the anger of one day
Fine Line
For me for you

Come Around
the track
tonight

Come Around
the track
Insane"

New SYNTHFEST 2019 Sonicstate Videos

Published on Oct 7, 2019 sonicstate

Update: EvenHarmonic Stomp Synth added to the playlist.

Playlist:

1. SYNTHFEST 2019 - Expert Sleepers Ultimate Interface ES-9

Expert Sleepers were on hand to show their entirely new ES-9 which takes the concept of modular and DAW integration with DC coupled connections, to its logical conclusion - featuring 16 IO interface, plus 2x balanced Audio outs as well as 8x8 minijacks, and optical IO, as well as compatibility with the ES expansion modules (for up to 48 additional outputs). You can now use this at the heart of your live or recording system in one go. Available soon priced at £499 UK

2. SYNTHFEST 2019 - IO Instruments Filter - With dual resonance types

New dual filter type from IO Instruments adding to their expanding range of affordable modules, this one featuring a ladder filter (24/12/6dB slopes) - with bass compensation and an MS type filter. With Linear FM, Keytrack and other controllable aspects. Sounded good, and is affordable, expected price is around €130 Euros

3. SYNTHFEST 2019 - More On The Modal Argon8

Modal Electronics were showing two of their Argon 8 Wavetable synths - things are moving on, there are now 4 in the world - so still at production prototypes stage.

News from the Modal Electronics camp, the Argon8 firmware is still being worked on, with some advances in DSP efficiency meaning more is happening in the on board FX department.

Still aiming for November production, but probably later in the month as opposed to early. But still largely on track.
Jackson kindly gave us a glimpse of some of the new features and DSP work thats been going on.
Argon 8 is expected by the end of November at a retail price around £579.

4. SYNTHFEST 2019 - Isotonik Studios Control For Akai Fire - Soon Come

Isotonik Studios spend a lot of their time figuring out what MIDI controllers work well with Ableton Live and construct custom scripts that will allow them to be used in ways that allow for excellent studio and live workflows. In this video we look at the way that new hardware can be hooked up. Using ClipEx Pro and the bindings feature, its possible to create your own complex, custom setups.
Also on show was the soon to be released set of functions including a Euclidian sequencer and control for the Akai Fire. Which is an FL Studio controller that's has been hijacked to work with live with some more clever scripting and a Max4 Live sequencer device.
Available soon via isotonikstudios.com

5. SYNTHFEST 2019 - VCVRack Updates And More To Come

VCV Rack as we know hit its V1.0 earlier this year and as such started to become more highly featured. We caught up with Dale from module developer Valley and talked about the environment, and future plans.
https://github.com/ValleyAudio

6. SYNTHFEST 2019 - Tranzient - VR Music Creation APP from AliveInTech

We saw some of the VR integration for Ableton Live from AliveInTech's Jim Simons a couple of years back. Since then VR headsets and hardware has reduced in price, making it more available, and so a new application has been developed which has a complete single software solution - with the VR, audio engine all in the same application.
Its called Tranzient and Jim gave us a look at the application in action.

7. SYNTHFEST 2019 - Stylophone Gen R8

The Stylophone Gen R8 is continuing its path to release - in fact its just about to ship.
Its an analogue synth voice with Stylophone heritage - ie it has the touch keypad.
All with in-house Stylophone designed Oscillators, Filter and JFET drive circuit.

8. SYNTHFEST 2019 - EvenHarmonic Stomp Synth

Evenharmonics were showing a proof of concept modular analog synth built into discrete, patchable pedals controlled by guitar.

See the SYNTHFEST UK label below for more.

Roland TR8S Timing Issues Moving 5 Or More Faders at Once?

PROBLÈMES D'AMOUR Well, not everything is immediately perfect. Great love and solid partnerships require dialog and compromise and devotion. Hard to come by these days, but let's talk about the down side of the TR-8S firmware 1.02 1. CONTROLLER LIMITATION Moving 5 or more faders at once will produce a timing stumble. Here I demonstrate that this is not the case with 1, 2, 3 or 4 rugged fader moves at once, but when we get to 5 at the same time it stumbles and can't do it. I don't know if this is a firmware issue or a limitation of the CPU, but I've really got my toes crossed for a firmware fix for this. 2. AUXILIARY TRIGGER WEIRDNESS In the second clip of this set I demonstrate that the dedicated trigger out works perfectly. No problems. In the last clip I have assigned outputs 1-4 to be triggers, and then assigned tracks 2-5 to operate as triggers (output set to aux 1-4) Theoretically then, whatever is programmed on track 2 should come out as a pattern of triggers from output 1. As you can see this is inconsistent and unreliable. Again, I don't know if this is firmware or hardware, but I have my toes crossed that this is something that a firmware update will set straight. The trigger out works great, but there's something still not quite right about the triggers which come out of the assignable outputs. Could be the length of the trigger. Or possibly the voltage. I haven't measured the output so I don't know. I've communicated with Roland about this, and while I doubt they'll take me up on my offer to help, I am positive their engineers are capable and will solve these hassles fast. I'm posting this to be a part of of the general dialog about pluses and minuses and issues as well as excitement around the TR-8S. It's a really lovely machine and I've got faith that these details will soon be sorted. #Roland #TR8S #rolandaira #problemesdamour

A post shared by Sunshine Jones (@sunshine_jones_) on Mar 18, 2018 at 3:02pm PDT

Anyone else seeing this?

Update: and another video from Sunshine Jones

CLICK FOR MORE »

Peter Zinovieff Electronic Music Dairy Summer 1976

This one in via First Last.

http://members.tripod.com/werdav/vocpzino.htm

Peter Zinovieff was the founder of EMS.

"Electronic Music Studios Ltd (EMS) London, England. Beginning in a backyard bomb shelter, Peter Zinovieff has created the EMS Company devoted solely to the production of electronic music instruments." Quote pulled from this page.

Some excerpts from the diary:

"Today is another grey day ... I wish I was in Raasay. There was a storm last night and the studio roof started to leak. It has leaked every year since it was built and every year it is repaired. Water is dripping onto the computer section. Part of the ceiling looks as if it is going to collapse."

"What an idiosyncratic place they must have found EMS. Chickens in the garden. Computers in the basement. Children rushing around the kitchen. I wisk Sofka to school on the Honda. I meet Robin half way down Putney Hill. 400 yards zoom. "

"We discuss, rather drunkenly, the future of synthesizers and how organs are becoming more like synthesizers and synthesizers more like organs I explain that I have decided that EMS should not try and compete in this market but that we should continue to stick to educational and sophisticated machines."

"I tell Ludwig about the terrible week that has just passed and the exciting constructive week that lies ahead. Ludwig tells me of the bad financial state we are in and how the studio is too expensive for EMS to support and how I'm too extravagant. I can tell he is tired. I suggest that we discuss it at the EMS meeting tomorrow. Already then the meeting is diluted from microprocessors and Bessel functions into one of financial fussing. Another decision.
Later Ludwig quietens down. Nothing better than tea and cake, wine and a peat fire. We really get on very well. It must be a nightmare running EMS' financial affairs. We get to bed at about 1. I am glad Ludwig is back."

"We discuss the Glasgow Hospital project. This is an application that has been submitted to the Wolfson Foundation for a large amount of money to be spent on the computer interrogation of patients and the computer diagnosis of their illnesses. Apparently the right 12 questions could diagnose any known disease. The idea is that the patients will be asked questions in regional accents by the computer. They would then respond by pressing a set of simple keys. Yes, no, sometimes etc. EMS will provide all the hardware and the hospital would provide the doctors. It would be very interesting if it works. Alan will be in charge of the project."

"I must stop the EMS people drinking too much at these lunches. Peter Eastty will be slurred and cantakerous this afternoon if he has any more.
All the EMS team are very high powered. Even though some - like David Cockerell, Richard Monkhouse and Alan Sutcliffe are friends and consultants, they still play an enormously important role in the company. We are extremely lucky. "

"Two pop stars arrive with a roadie at 7. They meet everyone going off from the meeting to play pool at the pub. David and Tim are experts at billiards. In Raasay we found an old bagatelle set. I hope it pulls them back there. David walked in snow for the first time in his life at the new year in Raasay.
It soon turns out that the roadie is the greatest pop-star. He's from Tangerine Dream. One of the others wears a long furry earring. Call me Indie Robin recognises him from Chicago. He says he's travelling incognito. It's a good earring he wears for that.
German pop-stars always seem more workmanlike than Americans. English ones fall into one or other camp but usually are dressed up. The Germans wear scruffy jeans and shave. They have come to look at the Vocoder. We also show them the latest modules that Tim is making.
Robin soon takes them off for who knows what with some friends. Rose, Leo and I go to a newly-opened Russian restaurant in Putney. I become maudlin for the gypsies and the islands of Petersboorg that I never knew."

"I had a terrible dream last night about my neck being cut away leaving my head stuck rigid on my body. I woke rather sick. It must have been too much wine at dinner. Suddenly I realise that it is pouring with rain and that I had removed the polythene sheeting from the roof for Hans' lunch the day before yesterday. That is why I had nightmares and why I feel sick.
My worst fears are justified. Water is once again pouring into the studio. Two panels have fallen off the ceiling Onto the computer racks."

"We open a bottle of Champagne. Ludwig thinks I am extravagant. After lunch Richard comes with the video camera interface. It works as soon as he plugs in the board. My programs have been adapted and we are able to test it straight away.
With this invention I am able to derive patterns from a video image. At the sirnplest these images might be a waveform drawn on a piece of graph paper but at a more complex level I think I will be able to derive very useful musical patterns from more random video images. For instance say I point the camera at a flower and say I apportion density of image to harmonic content and I scan from left to right across the stern of the flower. Then imagine that these sounds are pretty mediocre. Dull. Say then that I turn the camera slightly to the left or choose another flower. Will the sounds be more or less interesting? They certainly won't be the same. What images will give the best sounds. In a way it is getting a video picture to provide a pattern for improvisation.
We try it out. I point the camera into the garden. I run VOCAB and I assign the Video parameters to control DOB.
Suddenly the most marvellously rich, varied and amazing sounds come pouring out of the speakers. They ripple and change. They are the first alssolutely fantastic sounds that the oscillator bank has made. Everyone is moved. At first no-one believes that they are not pr~omposed but as I turn the camera the sounds change. They are convinced. In some ways we are frightened. It's like in the story of tuning in to the death cries of roses as they are cut.
We call over Ludwig. He rings up Germany. I ring David in Paris we hold the telephone to the loudspeakers but there is probably little chance that they can hear what is going on. The children come down. I dare not alter anything. Perhaps the program has got into a random loop. I save it and restart it. Wherever I point the camera there is another set of sounds. Each more rich and varied than the last.
I must keep this a secret. I shall give it to Harry for Orpheus. We must not allow these marvellous things to be heard for a year or two. Apollo's gift to Orpheus was music. I wonder where these sounds come from. Perhaps it's not fluke that we have been working on Orpheus for 3 years. This is our reward.
What a day ! Perhaps all days will now be magical again!
I shall use the last seven days of this journal for my Glasgow Musica Nova talk.
Peter Zinovieff
Summer 1976
source: Bulletin of the Computer Arts Society May 1977 "

Cellular AutoMidi - Generative Audio Flash AIR App

Cellular AutoMidi - Generative Audio Flash AIR App from Lawrie Cape on Vimeo.

"Presenting my latest Flash Music Toy App Thing -
Cellular AutoMidi!

For more info and to download the App visit - lawriecape.co.uk/theblog/?p=735

Basically - each cell can be alive or dead. Once in a generation, each cell looks at it's surrounding cells, and dies if it is lonely or overcrowded. If a dead cell has an optimum amount of neighbors, it will come to life! Each generation, all the cells which have come to life will sound a note. The notes are assigned based on the cell's y position, and are all in the pentatonic scale.

There's a few controls at the bottom which change how things work too.

Start/Stop - Starts/Stops the automation.
Load - Loads a pattern from the text box.
Export - Exports the current pattern to the clipboard. You can send it to friends, or save it for later, then load in with the load button.
Clear down - Stop and clear the current pattern.
Law Mode - An error when coding the cell rules gave this other odd mode.
Skip Audio - Just show the cell animations.
Sing Dead - Instead of singing the recently revived notes, sing for the recently deceased.
Note duration - Alter the system speed.

Also, along the top there are banks of preset systems. Click play to start a saved pattern, and click assign to assign the pattern currently displayed to that button. You can also trigger each pattern with the keyboard keys 1-8.

When you press Export, your pattern is automatically copied to the clipboard, so you can save it, or share it with people. Here's a pattern I made - you can load it by pasting it into the load box, and pressing Load!

The app is fully compatible with Flash Midi Server (my Flash to MIDI audio interface app) - it checks to see if it is running when the app is launched. If it's not, then it uses fancy Flash Player 10 dynamic audio! I'm hoping to roll this out to the Flash Midi Server class soon - so any app which tried to access the midi server and fails, will use the dynamic audio as a backup. I'll keep you posted!

For more info visit - lawriecape.co.uk/theblog/?p=735"

Flash Midi Server - Sonar reproduction. from Lawrie Cape on Vimeo.

"I just watched the spectacular "Sonar" by Renaud Hallée - vimeo.com/5324878 [previously posted]

A piece he describes as "Rhythmic cycle w/ abstract animation. Basic keyframe animation using flash, without scripting."

Seeing as I'd just made a Flash based Midi Server for playing music through Flash, I thought I'd try and reproduce the basic elements of it - but using scripting.

This is my homage to Sonar - Basic scripting in Flash, using FlashMidiServer and FruityLoops for dynamic audio.

More info on Flash Midi Server at - LawrieCape.co.uk/theblog"

Flash Midi Server - Processing + Flash + Webcam Instrument from Lawrie Cape on Vimeo.

"I've just finished the first prototype of a project I've been working on - a processing based app which lets Flash/Air apps send midi (notes and CC) data, and I've put together a video showing an early app dermo.

The demo shows the Processing based Midi server (blue app in the bottom right), and also a Flash Webcam based synesthesia type audio tool. The Flash app takes still images from a webcam, and analysies them for 4 colours within them. These colours are then mapped to a range of notes, so for example, a white image will send a high note, whilst a black image will send a low note. These notes can then be played back by sending out Midi data, and the corresponding images are displayed.

As an extra feature - the "activty level" (amount of movement) in the webcam can be monitored, and sent as CC data.

Most of the sounds coming out of this demo are pretty nasty, but it shows the basic idea of the Flash Midi Server - which could be used in loads of different ways. Eventually I'd like to release a suite of Air apps - interective and generative music toys, using various Flash capabilities - and invite other people to contribute their own.

Hopefully there'll be some more polished versions coming soon.

More info coming soon at LawrieCape.co.uk/theblog

Cheers.
Lawrie."

Tiptop Audio & Buchla Eurorack 200 Series Set to Ship by September

via Tiptop Audio

We have been busy searching the planet for components and parts and have some updates on the release schedule for the Buchla project.

We plan to start shipping the 245t Sequencer and 257t Voltage Processor around the end of August or early September. There can always be surprises along the way that might add some delays but August/September looks realistic. Almost all Eurorack shops we work with have some of these on order with us and we hope this batch will cover the demand. We will inform the shops of the final price and when they can open up for Pre-Orders as soon as we have enough of these modules tested and ready to go.

The shipping announcement will come through this newsletter and our social media channels

The new batch of Model 281t Quad Function Generator should also be ready around mid September. Some of you have waited a long time for these and hopefully soon you will finally get it.

CLICK FOR MORE »

Rhodes CHROMA ARP Analog Polyphonic Synthesizer

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

via this auction

This is the second one listed today. These are beautiful instruments and thanks to the iPad, Chromas with the CC+ upgrade can now be edited in real time with a dedicated iPad editor.

Notes on this one via the listing: "Here is a Rhodes Chroma that has recently been restored to full operation by William Santana at Santana Musical Electronics of Portland, OR. The unit was purchased from the original owner and has already been upgraded with the SPSU that is currently available for the Chroma.

))))))))PLEASE READ(((((((((
The CPU in the unit is the original design but the CC+ CPU upgrade is on order now and will be available some time in March. Once the kit is available I would be willing to ship it to the seller as it's value is included with the sale price in this auction. No further costs will be incurred by the buyer of this unit for the value of the CC+. The CC+ will be shipped as soon as is received from the manufacturer. The only thing the buyer will have to make arrangements for is for the installation of the upgrade. The CC+ along with the SPSU brings the Chroma truly into the 21st century providing an enduring stable service life for many more years to come as well as many new and valuable features provided by the CC+. Read more info about it at: rhodeschroma.com

The CC+ is essential for full CC control of all parameters and has already been used to great benefit by the designer of the
Enabler Chroma interface, and the iPad Touch OSC interface:

The woodwork is all original. Due to the typical nature of the aging Rhodes Chroma, often the end caps are found to be stained from the degraded foam that lines the flight case for the Chroma. This unit came to me with foam stains but has since been refinished and the case has been refoamed as well.

As you can see in the pics, the cosmetic condition is very clean. I have since provided bushings under the front panel screws to give it a cleaner look. The tolex is very clean as well. Overall, this unit is an excellent example of the Rhodes Chroma model.

Also included is 2 extra channel boards. Parts have been removed from both of these boards to facilitate the restoration of this Chroma. Currently, NONE of the CEM ICs are present on these boards. However, there are other parts that are specific to the Chroma including the cards themselves. Both of the extra cards are the 2nd or 3 revisions that still had to have a jumper installed at the factory. The need for this jumper was corrected by the later revisions of the channel board which are what all 8 channel boards are currently loaded in the Chroma you see here.

The sound of the unit is big, organic and very deep. The keyboard is a real, wooden 64-note velocity-sensitive dream come true. The programming features are truly unlike any other synth. The "patch" parameter gives you several different routing options between the 2 voices on each card. Some have compared this to the "Algorithm" concept found in the Yamaha DX7.

This unit comes with all of the original accessories including:
Dual sustain/sostenuto pedal (Rhodes)
Single patch advance pedal (Rhodes)
Variable voltage control pedal (Rhodes)
3 x cassette interface cables (original) 2 x 5-pin 1 x 8 pin
Programming manual
Performance Manual
Syntech MIDI interface with all documentation
Front panel interface feature chart
2 x original factory patch cassettes

The Rhodes Chroma was the last product to come from ARP. This unit was to be ARPs big push back into the very competitive synthesizer market. They were definitely onto something. There were many innovation that were developed for this machine that were way ahead of its time. Unfortunately, ARP could not hold things together to release the product to market. Phillip Dodds, who was responsible for the Chromas development and the shutting down of ARP, managed to convince CBS to take up the design along with the R&D team to release it to market under the Rhodes badge. The Rhodes Chroma saw some hi-profile use and was definitely the "players" synthesizer in its day."

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Prototipo Ondes Martenot

YouTube via airmusician1 — April 14, 2010 — "Prototipo #1 de este instrumento similar al Les Ondes Martenot, hecho en Chile entre el 2009 y 2010. Agradezco la ayuda de Don Marco Antonio de AnalogCustom y Cristian Rojas por su apoyo y fe en mi proyecto, muy pronto se hara el instrumento definitvo, para los musicos y aficionados interesados en esta tecnologia análoga.
Prototipe #1 of this kind of instrument similar to Les Ondes Martenot, was made in Chile between 2009 and 2010 year. I apreciatte so much the helps that delivered to me Marco Antonio from AnalogCustom, and Cristian Rojas as well.
Very soon will come out the first instrument to musicians and people that could be interest in this.
Some Characteristics:
- 4 kinds of Timbre.
- Pitch / Fine Pitch regulator.
- Independent Tuner output
- Volume selector: Hand/ Pedal Volume
- Register of 5 octaves (it is possible to increase it)

This song is called "El cants dels ocells" (Song of the birds)"

Googlish:
"airmusician1 - April 14, 2010 - Prototype # 1 of this instrument similar to Les Ondes Martenot, made in Chile between 2009 and 2010. I appreciate the help of Don Marco Antonio de AnalogCustom and Cristian Rojas for their support and faith in my project will be done soon definitva instrument for musicians and fans interested in the similar technology.
Prototype # 1 of this kind of instrument similar to Les Ondes Martenot, Was Made in Chile Between 2009 and 2010 year. I apreciatte That Helps so much the me to Antony Delivered from AnalogCustom, and Cristian Rojas as well.
Very soon will eat out the first instrument to musicians and people That Could Be Interest in this.
Some Characteristics:
- 4 kinds of Timbre.
- Pitch / Fine Pitch regulator.
- Independent output Tuner
- Volume selector: Hand / Volume Pedal
- Register of 5 octaves (it is possible to Increase it)

This song is Called "The Cants dels ocells" (Song of the Birds)"

see airmusician1's Channel for Theremin videos as well.
via Dana Countryman on Facebook here.

Update via BLUE PLANET CORPORATION in the comments:
"For those who are searching the real one, they can contact in Paris, Jean-Loup DIERSTEIN.

He's making like the original one.

Expensive, but we can say that's the same.

http://dierstein.fr/" Googlish link

Modded MC-202 meets SH-5 inna raw dub (Tubbutec MC-2oh2)

video upload by Soon Come

"I let my old MC-202 go a very long time ago for rent money. Regret!

But recently, Tubbutec modded this beloved monophonic synthesizer, and I had to get my hands on one. Here's my first try after reading the manual. Always RTFM"

ANALOG SYNTH RUSSIAN VCF FILTER

images at this auction
"Up for sale is one of the best Russian based VCF filters with a really sour Rezonance Character. It is an External All In One unit that is self powered with a 12v AC wall adapter. It has an onboard LFO section and Pre Amp to amplify lower sound signals. This was intended for the Modualar Synthesizer People, but it can be used with Line level signals also. It can also handle a guitar/bass directly connected. It can easily Self Resonate.
----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
The actual unit is Green with red Knobs. Demos will be up soon, come back later to hear it in action.

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These are the inputs:
(1) CV
(1) FM bipolar CV
(2) Audio In (Ain)

These are the Outputs.
(1) FIlter out BP/LP (selected by swtich)
(1) LFO out
(1) LFO SQUARE OUT
-----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Now for the hard Facts: The pre-amp section was intended for VCO analog synth Signals, It sounds very clean with these signals because these levels are usually Beefy and Big.
It can however amplify Line level by x100. But by cranking it up all the way you will hear slight distortion and a little Noise. This also applies to Guitars/bass. In other words this is not a crystal clear Pre-amp when cranked up x100 gain. This is how I wanted it to be, distorted and sour mainly for Analog Signals. I made some demos passing various signals through the filter so you can hear it in action."

Concert of Containment, Sunday 12 April 2020, 16h

Published on Apr 13, 2020 RADIOKLOW

"This concert was given in a virtual room for an audience of Friends and Intimates, during the present containment against the covid 19 pandemic.

I wanted to gather some close Friends and Intimates for a moment of music performed on my favorite synthesiser and tibetan bowls, to share warmth and fraternity. Beyond this small group of persons, these improvisations are offered to everyone in this world, with the hope to bring all women and men peace and serenity. They are a travel to light.
A the beginning of them, I chant a mantra for healing : "Om Shree Dhanvantree Nahma".

With all my love and compassion for everyone

I dedicate this concert to my dear cousin Jean-Luc who has suffered from the bad virus and went to hospital but has now fully recovered. I will soon come back home and share again life with his wife !"

Sequential Prophet-6 Extreme Analog Synthesizer LFO Filter Rik Marston X 5

Published on Sep 19, 2018 SynthgodXXX

Sequential Prophet-6 "Extreme Analog"
Synthesizer Demo by Rik Marston
**Watch in HD** **Turn it UP!**

**Reverb Sequential Prophet-6
Synth Sample Pack COMING SOON!**

**Korg Kronos UBER Prophet-6
Sample Collection COMING SOON!**

Here is a new audio demo of just how EXTREME
the Sequential Prophet-6 High & Low Fliters & LFO
can really get. Noise, Experimental, Ambient, Sci-Fi,
Soundtracks, Sound Design this synth is a CHAMP!
I seriously can create some of the most intense sounds
using the Sequential Prophet-6. The most unique!
Dial it right in, Industrial & Dance producers will eat
this synthesizer up! Make DRONE CITY if you wish!
This will make any musician wanting a different sound
than what other synth manufacturers are making today.
This synth is a Sci-Fi soundtrack makers DREAM COME
TRUE! A+++ Dave Smith / Sequential! Great Job!!!

Thank you so much for watching!
Please Like, Share & Subscribe!
More Synthesizer Demos
Ambient Chill Zen Music
Electronic Dance Music
COMING SOON!
Rik
SynthgodXXX
9/19/2018

Endorphin.es Life is a trip: DATACHROME interview

Published on Jun 26, 2018 TheEndorphines

"Isn't it interesting to know how various people use same instrument? That's why we asked all our participants some simple questions and got different answers.

Check the interview with our last, 5th participant - Johatan from DATACHROME: https://www.youtube.com/user/leChatAutomatique

- How did you come to use synthesis in your music?
Well, I have some kind of a strange relationship with music and more particularly sound. When I was around 20 years old I used to go to a lot of gigs. At that time I was very much into circuit bending and DIY as I could not afford a synth and loved industrial and post punk music. One night I came back from a concert with ringing ears. The next morning I woke up and could not hear any sound not even talk with someone without feeling huge pain in my ears. I was soon diagnosed with severe hyperacusis, a condition that lowers the tolerance to usual environmental sound. With experimentation I soon discovered that some frequencies where more harmful than others and I integrated multiples crude analog filters to some of my builds and bent machines. More than sculpting sounds it was making it more bearable. Building filters made me aware of some classic analog synths and designs and soon enough I craved for one. Checking adds every day for a while, I got lucky. One night, around midnight, I saw an ad for a Korg MS-20 totally beaten up and untested for a very very cheap price. Problem, it was also on the other side of the country. Anyway, next morning a 5am I was in the train, and after 14H hours of travel I was back home with the precious MS-20. Still it was rusty and needed some fixing but it was here, my first proper analog synth.

- How did you use the SHUTTLE SYSTEM in your track for the "Life is a trip“ contest?
I’m a modular user and make bleeps and bloops in my living room for fun and experimentation. I rarely use computers to arrange tracks, I like to embrace the chaos and randomness offered by the modular approach. From loss of some control, sometimes emerge a pure and raw connection between your mind, your heart, and the machines you use to express yourself. I tried to integrate the Shuttle in this context because I think this is where it may shine and really show a bit of its hidden self. Also, it was an indispensable process dedicated to bond with the machine. The challenge was to create as much different voices and sounds as possible with the Shuttle, so self generative felt like the path to go.

In that track, all the self generated sounds and glitches are from the Furthrrrr Generator under modulation and then processed by a very fast delay for a Karplus-Strong effect. It resulted in various textures, from vocoder like, laser drum sounds, bleeps, bloops, insects scritches, crazy warp holes, bongos and hi-hats. Airplane A and B from the Grand Terminal are used as oscillators. One goes through the transistor ladder filter of the Grand Terminal and is playing the semi random and dueling melody you can hear in the beginning and end. The second was also fed through the Grand Terminal, filtered and processed afterwards with the shimmer reverb effect. It’s used to create pads on the second part of the track. I used the noise generator on the Furthrrrr for some additional hats you hear sometimes in the mix. Snare is also the white noise tweaked, sampled and sometimes bit crushed or pitch altered. The cockpit was used for some premix during the monitoring and creation of the patches and was very handy. In the end not much of the track is not from or processed by the Shuttle in a way.

- What part of working with the endorphin.es SHUTTLE SYSTEM did you like best?
I really love the Furthrrrr Generator and particularly the Thru Zero Core Oscillator. That thing can make sweet but also very angry and thick sounds. Add the waveshaper, sprinkle a bit of chaos from a sample and hold and you got a killer self generative patch!

- How do you think the SHUTTLE SYSTEM can improve your music making in the future?
The Shuttle System is a very compact and smartly featured system. It’s a modern take on a classic design with a lot of updates and tweaks. The use of digital modules make them updatable, meaning the Shuttle will evolve and pretty much always surprise. On top of that you have the Buchla inspired architecture that always sounds sweet, a very fun panel design and the fact that it’s fully modular. I think this cocktail makes it into something you wanna play with and wich is very inspiring, and from inspiration always comes new and better ideas ;)"

KISS 2016: EMERGENCE - Annual Kyma International Sound Symposium Set for September 7 - 10

"The annual Kyma International Sound Symposium includes papers, workshops, demos, and live performances presented by Kyma practitioners along with master classes presented by the creators of Kyma, all tied together by a unifying theme. You are invited to learn, to share, to meet, and to enjoy!

Kyma experts from Austria, China, Denmark, Germany, Greece, Italy, the Netherlands, Norway, South Korea, Switzerland, the United Kingdom, and the USA will be in Leicester to share their expertise in workshops, demonstrations, talks, and live performances."

Details on the 2016 EMERGENCE Event:

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An Interview with Alessandro Cortini

Alessandro Cortini is the man behind SONOIO. He played synths for Nine Inch Nails and brought us the SuONOIO synthesizer produced with Scott Jaeger of The Harvestman.  Alessandro  is known for his use of Buchla systems new and old.  He currently has a new free release featuring remixes from Alan Wilder, Telefon tel aviv, Eric Avery and more. There is also a 7 inch for sale on www.sonoio.org.

The following is my interview with him primarily focused on synths.

1. How did the world of synths start for you?

"I was schooled on guitar, back in italy. I am from a very small town so there weren't a lot of bands to play with... I got asked to "help" and record guitars on a record by a local band, called Autobeat, fronted by Franco Naddei (now francobeat). He was really into synths and electronica, so he basically opened a whole new world to me.... He ended up doing a remix for SONOIO on the upcoming remix record which is very cool, considering he was the one who introduced me to Depeche Mode (Alan Wilder is doing a remix too)."

2. What were your first synths and what did you think about them?

"Besides from my friend's instruments, my first "synth" was a Casio VL series, if I recall correctly, when i was 10 years old. On a more involved level, I personally started with software. The first one was Seer Systems Reality on PC...I moved to mac as soon as i could, and started using Cubase's Neon a lot (a small built in VST). Next were Bitheadz Retro AS-1 for synths and Unity DS-1 for samples, all "synced" to Logic (it definitely wasn't as elegant as it should have been).


Emagic's ES-1 was sort of a "step up" because of its integration with Logic...but didn't sound too good.

Bottom line is that I recall being extremely excited and happy for being able to record and compose on my laptop wherever I was, and didn't see the need for hardware synths.... until I borrowed a minimoog and spent a good 4 hours with headphones, a pencil stuck in a key to keep it going and tweaking knobs: that made it obvious that interface, much more than sound, were the reason why it was worth to commit to a dedicated hardware unit.

My infatuation with the minimoog quickly vanished, and moved onto NordLead, Nord Modular and lastly a small used Analogue Systems modular synthesizer. The AS was the beginning of a long relationship with modulars: for once, there were no rules, no predefined paths and no wrong moves (almost).

I expanded my AS until I sold it in order to buy an old paper faceplate Serge, which was then sold once I got Buchla fever…."

3. I still remember the day you announced you'd be working with Nine Inch Nails. What synths did you use at the time and what was that experience like?

"At the time I was still using my nord modular and AS modular.... The audition was odd: I was basically instructed to play on top of a live recording, which I did. The first two songs I played were Wish (on guitar and synths) and Closer. I remember preparing my little patches on the Nord Modular for the audition... I wish I kept those sounds cause they were pretty funny.


The whole NIN experience was amazing, especially the time in the studio working on Ghosts.
I have to admit the reason I left was touring, which became a bit too strenuous and not enjoyable anymore.

I got very involved in the studio side of things: I feel much more at ease working on music in a studio environment than performing live. Live performance always feels like a test, to different extents, generally with little room for spontaneity (my opinion, of course)."

4. Did you explore any interesting synths or new forms of synthesis at the time? I recall Trent Reznor used the Dewanatron Swarmatron for "The Social Network" He is also known for having a few coveted pieces of gear including one of two Waldorf Shadow XTks.

"Trent has a studio full of toys so I had the chance to play with a myriad of instruments I have never seen or heard before...but in the end I would always gravitate towards the modular."

5. You are known in synth circles for you use of Buchla modulars. How did you get introduced to them and what was it that gravitated you towards them vs. other synths? How do you approach the Buchla and how has it impacted your music?

"When I was teaching synthesis at Musicians Institute I basically had to write the curriculum myself. Part of it included an introduction to the history of these instruments and I remember being completely mesmerized by some of the Buchla photos I was able to track down... the way the instrument looked like a toy, like a self contained instrument that first and foremost called you to play with its looks.

I remember when Don announced the 200e series in 2004: I printed the whole site so i could have in my student role book and read it during breaks... I was obsessed.

Peter Grenader was responsible for introducing me to historical Buchla records such as Subotnick's Sidewinder and Sky of Cloudless Sulfur, and his Plan B modules kept my hunger for Buchla inspired technology in check for a while... until I was able to afford my own 200e system.


I am fortunate enough to own both a 200e and a vintage 200 system."

6. How do the Buchla 200e and 200 compare in your opinion, specifically in regards to sound and interface?

"I would say the interface is very close, unless you start analyzing high density 200e modules such as the 251e, where there's a lot going on in a small space. Soundwise, there are similarities, yes, but I see them as two different instruments, and approach them as such.


I love the 200e's 259e wavetable waveform generators, and the ability to use patch storing in a creative way.The 291e is undoubtedly superior to its 200 version, in my opinion. The 222e/223e input port is the culmination of Don's 40 years tinkering with touch surfaces.

The 200e has its own sound and you'd be disappointed if you wanted it to sound like a 200. It just doesn't do it well, mainly because it wasn't designed to recreate that aspect of the 200 instrument, in my opinion, but mostly its interface, applied to modern technology.

7. Recently you've been using the Teenage Engineering OP-1. What are your thoughts on it? How do you like working with it, specifically the physical design and interface, and of course as an audio processing tool?

"I think the OP-1, with its limitations and quirkiness, is a very creative instrument. I can't deny being a bit disappointed by the electro style demos that started popping up once it was announced, but as soon as I got my beta unit it was undeniable it could be used to do completely different things. It goes wherever I go!!! I enjoy the well laid out interface and its sound engines, which are fairly unique in their incarnation. It's a great sketchpad for ideas and sound design, and I have been using it on tour as a vocal effect also."

8. Aside from the Buchla and OP-1, what other synths and/or forms of synthesis do you find yourself gravitating towards when experimenting with sound and music?

"Definitely the more odd looking/sounding ones, preferably without a keyboard."

9. You recently worked with The Harvestman on the SuONOIO. How did that come about and what was that experience like?

"Once I finished recording the first SONOIO record, Blue, I wanted to come up with an interesting product to accompany its release. Something similar to a Buddha Machine, but playable, and something original like a BugBrand synth, but still linked to the album release.... It became clear that it had to be an analog/digital hybrid. Scott was the first to come to mind, as i believe he is extremely talented in bringing the advantages of digital design to an analog interface. After a few phone calls and 3 weeks later, we had the 1st prototype ready....2 protos later, the instrument was done. It was a very quick back and forth collaboration... almost makes us feel guilty, since we had so much fun making it!"

10. Do you see yourself more as a performer, an explorer of synthesis or a bit of both depending on context?


"I really just like playing with instruments and come up with interesting sounds. I am not too good at describing what I do... I just do it!"

11. Is there anything else you'd like to share with our readers?


"I am working on releasing my first instrumental record...it should be out early next year...i am very excited to release it!"

Photos above by Sarah Sitkin



You can find Alessandro Cortini's work at http://sonoio.org/. He currently has a new free release featuring remixes from Alan Wilder, Telefon tel aviv, Eric Avery and more. There is also a 7 inch available.

Isla Instruments S2400 Video User Manual

Isla Instruments S2400 Video User Manual - Part 1: Introduction
Isla Instruments

"Over the coming days and weeks, the complete multi part series will be uploaded to this channel to compliment the written user manual.

Here's a fun introduction to the course, prepared by @Alex Ball"

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Synthmas '21 w/ Synthfluencer

Door #6: Lasst uns froh und munter sein (Let us be happy and cheerful) - Synthmas '21
video upload by Synthfluencer

"The gear:
This song is played on the Casio CZ-5000 digital synthesizer. With the CZ series Casio stepped into the professional music market after getting famous with the VL-1, PT-1 and other casual instruments. All CZ synths used a synthesis technology called phase distortion. Some preferred PD before FM synthesis, since it can create bell-like sounds as well as warm analog sounding pads. Even though missing velocity and aftertouch as built in the CZ-1, the CZ-5000 was the second best equipped synth of the family. The two DCOs are capable of playing 8 different wave forms, can be ring modulated and formed by 3 envelopes for each DCO (DCA = VCA, DCW = VCF, DCO = VCO). The envelopes can have up to 8 stages what gives huge possibilities for sound design. Key split, layer sounds, a sequencer - not really easy to operate but unique in the price range at the time - and a really good sounding chorus made the CZ-5000 a dream synth for many electronic music enthusiasts.

Because operating the internal sequencer is a fiddly job I used a Korg-SQD1 for sequencing the song. The simple multi track sequencer was very popular in the 80s Detroit techno scene.

Trailer material: Pexels.com (image @seurafrancis99, video @cottonbro)"

Door #5: Morgen, Kinder, wird’s was geben (Tomorrow, Children, Something Will Be) - Synthmas '21
video upload by

The song:
Originally named "Die Weihnachtsfreude" (The Joy of Christmas) the song occured first in the 18th century. It describes the childrens thrill of anticipation awaiting Christmas Eve.

The gear:
For this song I used the Yamaha MODX. The modern digital synth is basically using two synthesis engines: AWM2 is a sample based engine while the FM part is an enhanced version of legendary DX-7 engine that shaped 80s pop fundamentally. As the AWM2 synthesis allows an instrumentation in any thinkable fashion, the song's version presented here makes use of original DX-7 factory patches only. That gives the desired retro touch.

FM synthesis was a giant leap in synth architecture. Not only that digital synthesis was available for a broad customer base; the DX-7 put cutting edge expression technologys into play like breath control and MIDI and made upper class features like after touch available for the ordinary synthesist. The (then) unique e-piano patch defined a new standard and became a mandatory element of 80s synth ballads. The possibility of adding a (digital) filter and effects to the FM engine's sounds makes the MODX kind of a 'super DX7'. Hence the name MOreDX?

Trailer material: Pexels.com (image @seurafrancis99, video @cottonbro)"

Door #4: Es ist für uns eine Zeit angekommen (Unto us a time has come) - Synthmas '21


"The song:
The melody came up in the 19th century as a traditional Swiss star boys' singers Christmas carol. From it's origin, the Wiggertal in the Canton of Lucerne it found it's way to Germany. While first sung with the original lyrics, under the reign of the Nazis a secular version was created. Like years later the communist GDR regime, the Nazis tried to remove the christian aspects from Christmas - our celebration of commerce we all love so much today. Nevertheless, this version is the most common used for the song today.

The gear:
The song is played by a Roland JV-1010. Sometimes derided as a "ROMpler", this multi-timbral digital synth is equipped - like it's bigger brother the JV-1080 - with many legendary sounds of Roland's 80s flagship D-series (10/20/50). Like Roland D-synths the JV-1010 creates it's sounds using LA-Synthesis. Therefore calling it "ROMpler" is simply wrong. LA-Synthesis was Roland's bold move to finally break the success of Yamaha's FM-Synthesis intruduced in early 80s with the legendary DX-7. The idea behind LA-Synthesis is that real instrument sounds (back then synths aimed most notably to imitate real instruments) are recognized by the very first parts of a sound. So LA or linear arythmethic synthesis using very short samples at the beginning of a sound continued with subtractive synthesis.

For this song I only used factory presets. I think the JV-1010/1080 has a wonderful warm sound. A Roland D-10 was my very first synth that broke a few years ago and I always thought about replacing it by another one or a D-50. But the JV-1010 turned out to be much more than a makeshift. Love it!

Trailer material: Pexels.com (image @seurafrancis99, video @cottonbro)"

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