Albers - CV inputs Pt 1

video upload by DecadeBridge

"The version of Albers available to customers has a few more features than the one in this video including:- LFO outputs.
LDRs can be switched to control Oscillator pitch or LFO rate.
3 way range switch for Oscillator pitch instead of 2.

This is a quick demo of using Albers with the Keystep Pro. Only a few of the Keystep's outputs are used. Check the timestamps for repatching of the outputs from the Keystep to different inputs on Albers.

Albers - Stepped tone generator: [posted here]

Albers - solo: [posted here]

Patching/Repatching:-
00:14 - Patch - Keystep Track 2 Pitch to Oscillator A Pitch.
00:36 - Patch - Keystep Track 3 Pitch to Filter Cutoff.
01:08 - Patch - Keystep Track 2 Gate Oscillator A VCA.
01:27 - Repatch - Keystep Track 2 Gate Oscillator B VCA.
01:33 - Patch - Keystep Track 3 Gate Oscillator C VCA.
02:48 - Delay effect added in Ableton.
03:37 - Repatch - Keystep Track 3 Pitch to Oscillator D VCA.
03:53 - Repatch - Keystep Track 3 Gate to Filter Cutoff.
05:48 - Repatch - Keystep Track 3 Pitch to Oscillator D Pitch."

Erica Synths Stereo FX & Stereo DJ VCF sound demo

video upload by Erica Synths

"We believe that our two new stereo modules in the Drum Series will seriously elevate your drums by adding a dynamic sound treatment. Explore a collection of custom hi-fi delay and reverb effects with the Stereo FX module, driven by our new DSP engine or, sculpt your sounds with the Stereo DJ VCF, delivering the distinctive filtering style commonly found on DJ decks.

Timeline:

00:02 - Take 1 / 12" Record through the Stereo VCF and Stereo FX. VCF is modulated with the Pico EF.
01:49 - Take 2 / Breakbeat through the Stereo FX, Stereo VCF and Stereo Compressor. VCF is modulated with the Pico EF.
02:52 - Take 3 / Sample sent through the Stereo FX different Delay modes.
04:29 - Take 4 / Bongo loop through the Stereo FX. Syncing delay time and freezing reverb by tapping the Patch encoder.
05:24 - Take 5 / Rimshot sent through various Reverb modes.
06:32 - Take 6 / Drum break through Stereo FX. Saving and loading different patches.
07:37 - Take 7 / Cowbell through Stereo FX in Delay mode modulated with the Octasource.
08:19 - Take 8 / LXR Drum module through the Stereo FX on which saved patches are switched with CV.
09:13 - Take 9 / Track from the Sample Drum sent through the Stereo FX and Stereo DJ VCF."

See the dealers on the right for availability.

The STEREO FX module brings hi-fi stereo effects into the Erica Synths Drum Series. Based on our new DSP engine, the module provides a wide range of custom delay and reverb effects. CV control over various parameters and the ability to save up to 10 presets will make this module an integral part of any performance rack.

Features
Hi-Fi stereo FX module
3 delay and 3 reverb effects
Tap and clock synchronization of delay time
Delay time divisions and multiplications in sync mode
10 preset patches
CV control over delay time, feedback, and preset selection
The FX is developed in collaboration with the Dutch company 112dB which offers some of the best-sounding VST instruments.

RRP 270 EUR | MAP 329 USD



As its name suggests, the Erica Synths DJ VCF STEREO module provides sound treatment functionality typically found on DJ decks – it is fully open when the cutoff knob is at 12:00. When turned counter-clockwise, lowpass filtering is applied and when turned clockwise, highpass filtering is initiated. Additionally, there is a nice-sounding, adjustable resonance parameter. This provides hands-on control over the sound during performances as well as unconventional timbre modulations that are hard to achieve with conventional state variable filters.

Features
Fully analogue stereo DJ-style VCF
Manual cutoff and resonance control
Two cutoff CV inputs, one with an attenuverter

RRP 180 EUR | MAP 219 USD

SoundForce Introduces SFC-OB Class-Compliant Boutique Oberheim OB-Style Hardware Controller

via SoundForce

"The SoundForce SFC-OB is a class-compliant boutique USB MIDI controller dedicated to OB-style synth plugins.

Features
With 37 rotary pots, 41 switches and 45 LEDs, you can finally control your virtual instrument in an instinctive and fun way. Create better synth sounds easier and improve your overall experience. A couple of extra “USER” controls are available to be freely assigned to additional parameters, for example Reverb size, Delay time, DAW FX sends levels. etc… The controller sends out standard MIDI cc messages and can be used with any software that is MIDI-mappable. A web-based control panel app allows the user to change the cc messages number for each control, change the MIDI channel and load the different plugin modes.

Plugin modes
Although the controller can be used with any software that can be mapped to MIDI CC messages, the SFC-OB has been specifically designed to work with the most popular OB-style synth plugins. Set the controller to the right plugin mode using the control panel. This will ensure that every switch on the SFC-OB is fitting the plugin used as well as possible. For more information, please check out the manual on the support page.

Build quality
The controller is assembled in The Netherlands with parts from Europe and Asia. It is built to last and withstand intense usage on tour and in the studio. SoundForce has an excellent track record for its controller line, with many units built and very little registered issues and repairs. The enclosure is made of 100% sheet metal and is manufactured by Grawart (http://www.grawart.pl). The case is made of bent steel and powder coated in black. The front panel is aluminum, also powder coated and screen printed with scratch-proof white and blue ink. Walnut wood side panels of 8mm thickness are fitted to both sides of the controller. On the electronics and firmware side, the controller is powered by the same STM32 Cortex-M micro-controller platform used successfully in previous products, insuring a very high level of compatibility with different computers and DAWs. The devices have been even used successfully with iPads.

2-way/1-way communication
As with previous controllers, users can enjoy 2-way integration using the latest Arturia OP-Xa V. This means that the controller interface can be updated when presets are changed in the plugin, when plugin instances are switched or even manually on demand. The controller even accounts for discrepancies between a plugin pot-position and a controller pot-position, and implements pick-up or smoothing modes to avoid juming values. This allows for an improved and tighthly integrated workflow. Other traditional 1-way MIDI CC mapping is available for the brand new GForce OB-X, SonicProjects OP-X PRO-II, DiscoDSP OB-Xd and Synapse Obsession. Those modes, even though more limited, still offer a fantastic new hands-on experience for virtual synth users.

Pricing and Availability
The SFC-OB is available on the SoundForce webshop for 399 euros incl VAT (exact price will depend on your local VAT %) in the EU and 329 euros for customers outside the EU. Perfect Circuit will be distributing the SFC-OB in the US, Signal Sounds in the UK, Cicada Sound in Canada and Dupertuis in Switzerland. Please get in touch with your local distributor for pre-ordering/ordering and pricing information."

EXTREMELY RARE PPG 1002 for Tom + first ever shop tour!!!

video upload by foleytronics fx repair

"Here is a demo of the EXTREMELY RARE PPG 1002 for Tom. Plus a bonus first ever tour of the Foleytronics shop!!

For those that want to attempt to tune this synth, here is what worked for me:

The trimmer by the regulators is the CV offset; trim for 0v for the lowest key. This interacts with the CV v/oct, which is right above where the two shielded cables connect from the 20-pin keyboard connector. Trim this for 1v/oct, which can be measured at the switched oscillator CV input jack on the back of the instrument. Once these are set, you can move on.

The oscillators are tricky. They each have an initial frequency trim pot and a volt/octave trim pot. However, the initial frequency trimmer cannot be set willy nilly to A440 because their initial tuning frequency greatly affects the octave selection switches on the top panel. What I found to be most effective is to set the MASTER TUNE front panel pot to 0, the OCTAVE SLIDER to the left of the keyboard to the middle and then begin tuning. Note, every trim pot for each oscillator will affect the others for that oscillator so this is an exercise in extreme patience.

First, turn off keyboard control for OSC B and roughly center its front panel tuning pot; set its octave to +3 and put a folded piece of paper on middle C. You are now going to tune the octave selector for OSC A; this part is confusing as there is a trimmer to adjust the octave selection offset for BOTH oscillators, but only OSC B has an adjustment to “match” its octave selection with that of A. Thus, you have to use that trimmer to get OSC A perfect and then match B to A - the method that worked for me was to switch between octaves for OSC A and adjust the octave offset trimmer along with the initial frequency trim pot for A to get a perfect octave selection for OSC A over the OSC B drone.

After the OSC A octave adjustment, it’s time to adjust B’s octave adjustment. Set A to +3, and switch OSC B to +1; adjust for zero beating at the trimmer in the upper left corner of the board right at the edge of the PCB. Then, switch OSC B back to +3 and adjust its initial frequency for zero beating; repeat this until the octave selection is perfect for B.

Now, it’s time to adjust for V/octave for each oscillator. Sadly, this adjustment affects the octave center calibration we just did, so you’ll have to keep backtracking until it’s good. Adjust the V/octave trim pot for OSC A, which is directly to the left of the CV v/octave we did in the first step. You’ll now have to mess with the init. frequency for A along with the V/oct to get the oscillator to track correctly on the keyboard, but like I said earlier, you have now probably slightly messed up the octave selection so you will have to go back and do that again. Then, adjust the tuning of OSC A again and repeat this process until OSC A tracks perfectly and has good octave selection. I couldn’t really get the +4 octave to be perfect, but hey, it’s a prototype and is probably 50+ years old.

Now for OSC B; it’s very similar to A. Use the V/octave adjustment trimmer which is the lower left trim pot on the PCB along with the initial frequency trim pot to get B to track along the keyboard. Again, you’ll have to go back and adjust the octave selection, but that’s not as bad for B because its octave adjustment doesn’t mess up OSC A’s octave selection. At this point, you should be able to get OSC A and OSC B to track the keyboard and the octave selections should be there"

Wiggler and TX-6 synth jam

video upload by Fluent Instruments

"Wiggler and TX-6 Jam

My #synthdiy Wiggler is a simple expressive monosynth, like a minimoog crossed with a wooden flute.

I discovered it plays really well with distortion. I only tried this because I found the distortion on the TX-6. The TX-6 also lets me pipe the audio into my phone and monitor it while recording!

The patch is a sawtooth wave with wiggle modulation thru a low pass filter with press modulation. There’s also a decay envelope to whack the filter.

#synthesizer #mpe #osmose"

See this post for another demo and overview. Note the YouTube name has switched from Sound Werkshop to Fluent Instruments.

TRS Split - CV/Audio signal distributor

video upload by Der Mann mit der Maschine

"TRS Split is a multipurpose CV and audio signal distribution module. It has three 3.5 mm TRS (tip/ring/sleeve - stereo) jacks and six ordinary 3.5 mm mono jacks.

It contains 3 identical sections set up as following:

Upper jack carries the tip signal
Middle jack carries the stereo/dual signal
Lower jack carries the ring signal

Each section can either split a stereo signal into two mono signals or join two mono signals into one stereo signal. The module does not have any active components and does not need a power supply.

Use cases:

CLICK FOR MORE »

Polivoks FAEMI-M Soviet Vintage Analog Polyphonic Synthesizer

Note: Auction links are affiliate links for which the site may be compensated.
video upload by Universal Audio

via this auction

Note auction links are affiliate links. See the site's privacy policy for more info.

Update: The listing has the FAEMI-M as being from 1968. It seemed a little early to me so I checked my copy of Peter Forest's The A-Z of Analogue Synthesisers. It's listed but without a production date. Right before the entry for the FAEMI-M is the FAEMI children's keyboard which was released in 1972. I then checked http://www.ruskeys.net, but no date is given either. Previous posts refer to the FAEMI-M being from the 1970s. Sound on Sound's article on the Polivoks mentions the FAEMI-M but w/o a date. If anyone defininitively knows, feel free to leave a comment. A couple of interesting comments from that Sound on Sound article:

"The Polivoks is a duophonic synthesizer designed by Vladimir Kuzmin, an electronics engineer who had been the bass player and sound engineer in his student band. Having graduated in 1976, he was inspired to apply for work at the Urals Vector Company by the inventor of the FAEMI, the first commercially successful Russian electronic keyboard. That man was Vladimir Lugovetz, the Director of the bureau that controlled development of electronic instruments at the Vector company, and the father of Kuzmin's future wife."

Followed by "Interviewed by Polish synthesizer enthusiast and supplier Maciej Polak, in 2003, Kuzmin explained: "My first task was to design the spring reverberator, but I also tried to improve the design of FAEMI‑M in order to obtain some modern effects such as portamento and filtering."

Auction details:

"So, the good news: All four oscillator generators are working; I have cleaned the potentiometers, and only one couldn't be fixed, and just one is slightly crackling on movement. I replaced the output jacks with the standard 1/4" jack.

Things I couldn't fix: The vibrato section is not working. Several keys are not working at all, and some of them work when pressed harder.

The external original power supply is unusual – it is combined with the scale pedal in one housing. The pedal works, but it also has a slight crackle on movement.

To see and understand the objective condition, I recorded a video. Please watch below, where I aim to show the specific condition of the device. Despite the problems, it is still alive, and I believe you can either repair, sample, or simply enjoy the time with such an old and unusual synthesizer, even in its current state. Of course, due to these reasons, I have also objectively reduced the price.

The package is fully loaded: synthesizer, original power supply/volume pedal, original 5-Din cable to connect the pedal to the synth, power cable for the power supply, original wooden hard case

Here is some official spoecifications:

Specifications:

Keyboard volume - 4 octaves.

Full sound range (all the registers are switched on) - from F in the controctave to E in the fifth octave.

Output voltage at the load of 100 kOhm - not less than 0.1 V.

Power supply:
-from an external DC source - 12 V +10\-20 %;

Power consumption from AC mains - not more than 15 W.

Current consumed from the battery of dry elements - 350 mA.

Overall dimensions - 610*280*110 mm.

Weight - not more than 10 kg."

CLICK FOR MORE »

Per-step Pitch Intervals with a Sequencer using PRECISION VOLTAGES module for Eurorack

video upload by AJH Synth Official

"Using a step sequencer to change VCO pitch per step: The Precision Voltages is a convenient way to offset VCO frequencies musically, by pitch increments of semitones and octaves, which can be either added to, or subtracted from an incoming CV signal, such as a sequencer or keyboard controller. This can have many uses, not just for melodic control of oscillators, but here is a particularly useful function for pattern-based pitch sequencing.
Modules connected to the outputs of the Precision Voltages will be sent fixed voltages of preset musical intervals, based on the 1V/Oct scale. These voltages, here represented as precise intervals of semitones and octaves, are selected by the two rotary switches. With no external CV signal connected to the inputs, the module will function as a source of preset fixed voltages, with a huge range of +11 volts to -11 volts (10 octaves + 12 semitones). These can be conveniently switched on or off with the A & B switches. When an incoming CV signal is present, this voltage sources is added to, or subtracted from the signal, meaning it can be used to easily shift the pitch, frequency, or CV level of modules it is connected to. This is ideal for shifting the pitch of VCO's to create harmonies or simple chords, or for offsetting CV levels in any application that uses them.
The Gate input of this module affects the value of A only, and will allow it to be turned on with a high gate signal, or off when the gate is low. B will remain unaffected, and will continue to output the pitch/voltage offset selected by the rotary pots and switches. The 'OUT' output will combine both A and B, depending on the switch position next to it. As a result, when A is turned off, either by the switch or a gate signal, then only the value of B will be output here.
Official website page: https://ajhsynth.com/Precision.html

I'm also using the new Chance Delay module on this patch for some generative randomness/probability - it's not necessary, the sequencer can be connected directly to the Precision Voltages Gate input.

SEQUENCER ADVICE: Most sequencers will allow you to change gate length, sometimes referred to as 'duty', as is done in this video, but you'll need to consult your sequencer's documentation if you are not familiar with how to do this. On many it is obvious, but others not so much. Also, some will allow you to change the gate length directly and quite precisely, whilst others will only allow you to change it in fractions or percentages. This may mean that you can't quite get the gate to span the entire step length, meaning that the pitch modification made by the Precision Voltages may be heard ending prematurely. This is the behaviour of the sequencer, not the module. However, there is a way around this...
A gate signal is just a voltage of either zero volts (off/gate is low), or a minimum of +5 volts (on/gate is high). Gates are pulse (square) waves for this reason, as they are simply one of these two states, and so some sequencers will also refer to gate length as 'pulse width'.
However, all the gate input needs is one of these two voltage values to turn it on or off. This means the CV outputs of a sequencer can also be used, so long as your sequencer has a range of at least zero to +5 volts, which they almost certainly will. Therefore if you connect the CV output of the sequencer to the Gate input of the precision voltages, set all of the step pitches (or pots such as on the SQ1 used here) to zero, when you run the sequencer the pitch changes set by the Precision Voltages will not be activated. If you then raise the pitch of a step to maximum, it will activate the pitch change on that step. Problem solved!
This is not as immediate or convenient as being able to switch the changes on or off with buttons, but it works just the same otherwise, and may be helpful if you can't get satisfactory results with your sequencer, or are finding it too difficult to adjust the gate lengths accurately.

The AJH SYNTH Eurorack range consists of high-end modules, all hand-made in the UK, most of which are based on classic, vintage designs, authentically recreating the circuitry of much sought-after analogue instruments and technologies of the past, whilst greatly expanding them, and bringing them to modern Eurorack levels of convenience, limitless flexibility, and reliability.

Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself.

Video by @DreamsOfWires"

Skyline Forty Nine P Synth SN 17971

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

via this auction

Note auction links are affiliate links. See the site's privacy policy for more info.

"This is an absolute rarity !! This keyboard is very, very hard to find.

Extremely clean - the surface, all the keys, the switches. The real wood is still beautifully preserved, the sheet-music stand is intact with very minor scratches and the metal work is fantastic condition.

Everything works perfectly (apart from one key that works beautifully once the keyboard has warmed up!).

All sections have their own volume control and I have video of the various sections working (will provide upon request).

The automatic accompaniment-system can also be operated without the acoustic

signals being switched on acoustically. The bass sequencing will still change with the

selected rhythm - this results in quite interesting sequences ! I believe it has a memory function you only need to tap a bass-key, then it is automatically held (this also works without the automatic accompaniment). Of course, the respective rhythms can also be switched acoustically.

The keyboard has a built-in loudspeaker (at the bottom) - this works also perfectly (without distortion). On the back there is a line-out socket for an external amplifier and an output for a pedal (pedal not included).

It does have the original carry case which has no rips or tears.

Dimensions - About 82 cm wide x 19 cm high x 40 cm deep.

Weight - About 12,7 Kg."

CLICK FOR MORE »

Bob Moog (didn't invent the synthesiser)?

video upload by Zoë Blade

A mini historical timeline of key events by Zoë Blade. It's interesting in that it gives you some of driving forces behind the designs. For an in depth list of electronic music instruments see https://120years.net. If you want read a couple of books on Bob Moog check out Analog Days: The Invention and Impact of the Moog Synthesizer, and Switched On: Bob Moog and the Synthesizer Revolution (Amazon affiliate links). Note: memories can be fuzzy. There are some critiques for Analog Days not being 100% accurate. I haven't heard any on Switched On. That said, both books are interesting reads and will get you closer to some of that history.

Video description:

"After researching a bit about where Bob Moog got his ideas (and rewatching It's Always Sunny in Philadelphia), I finally got around to making my 'crazy board' red wool video (over a year and a half after buying the wool for this specific purpose), before I inevitably forget it all again.

This is my latest attempt at making a 'quick and easy' video, where I ramble on at the camera for three takes then edit the best bits together into something vaguely coherent.

I spent a good while typing out the subtitles for those who need it, which, given how I talk, is probably everyone. 😅

I hope you like it!"

TMP-2-04 Vintage Synth TV Series from Benge

video upload by Memetune Studio

00:00 Opening Titles
00:32 Introduction
01:22 Little Black Boxes
07:49 Switched On Cybersynths
14:55 Synthesiser Club
18:30 Commercial Break
21:52 Patching Today
35:05 Video Lab
40:34 Outro

////////////////////////////////////////////////////////

Episode four of the second series of the TV program from Benge, made at his Memetune Electronic Music Studio

The series explores his passion for vintage synthesiser instruments and studio gear and how he uses it on his productions and collaborations

////////////////////////////////////////////////////////

It is divided into the following sections:

LITTLE BLACK BOXES - A look at some classic rack mount synths of the 80s and 90s

SWITCHED ON - This second series looks at a type of synthesis based around the ideas of Cybernetics, which Benge calls CYBERSYNTHESIS

SYNTHESISER CLUB - A short musical demonstration of a synthesiser classic or three

COMMERCIAL BREAK - Some shameless Memetune shilling

PATCHING TODAY - A deep-dive into vintage modular systems and how to set up a patch on them, starting from scratch

VIDEO LAB - A look at old video equipment and how to create experimental visuals

////////////////////////////////////////////////////////

In THIS episode:

LITTLE BLACK BOXES - The Casio VZ10M Phase Distortion synth from 1988

SWITCHED ON CYBERSYNTHS - Euclidean Rhythms. We get the abacus out and do some maths in this episode, trying to work out Euclid’s infamous algorithm

SYNTHESISER CLUB - Today, its Club Yamaha!

COMMERCIAL BREAK - Benge’s latest album The View from Vega, released on the DiN label; FORMS SERIES albums on Bandcamp; Polyrythmic Electronica vinyl from the Systems of Objects label; Memetune merchandise - T-Shirts, Tote Bags and Badges

PATCHING TODAY - on the Paia 4700, made in Oklahoma City in 1974. Is this the WORST modular system ever made? Maybe, maybe not!

VIDEO LAB - In this episode - a look at vintage video cameras, and why the Three Tube system rules


////////////////////////////////////////////////////////

LINKS:

The View from Vega album: https://dinrecords.bandcamp.com/album...

Polyrythmic Electronica vinyl / Systems of Objects: https://systemofobjects.bandcamp.com/...

Benge's Studio Blog: http://myblogitsfullofstars.blogspot.com

Memetune Studio Instagram: https://www.instagram.com/memetunestu...

Benge FORMS / Memetune Merch on Bandcamp: https://zackdagoba.bandcamp.com


////////////////////////////////////////////////////////

The MemeTune Programme Credits:
Everything in this video was created by B D Edwards (Benge)
All music, design, writing, filming and production completed at Memetune Studios, UK, 2023

Luminous Trilogy & A CATALOGUE OF FM MATERIALS by Element433 ( a.k.a. Pere Villez)

via Element433 (Pere Villez)

"When I made the popular YouTube series 'FM Catalogue of Materials', many viewers commented that they would love to see some more of the 'music tech as cinema' style created in the videos.

My new project 'Luminous Trilogy' release, does exactly that. In part 1 'WTD', synths and synth technical diagrams, together with Pure Data/Max patches, become casual parts of the film's environment, which is set in an alt near future. Part 1 was realised with analogue modular, whereas Part 2 "Breath" was scored using binaural audio, VCV rack and live Indian tablas. Part 3 'Contrails' uses physical models, Samplicity's Berlin Studios and vintage FM hardware."

Update: Element433 has made the VCV patch and assets used in the film "Breath" below a free download. You can find instructions on downloading the patch and setting it up here: http://tinyurl.com/e433WpBrvcv.

Luminous Trilogy

video uploads by Element433 ( a.k.a. Pere Villez)

"Three music shorts around the theme of light, from incandescent urban folklore set in the near future, electric neon glowing medussae to impossible skies, all to the sound of dark ambient and techno-world music"

Playlist:

Walking The Dulzaina - Luminous Trilogy - Part 1

Walking The Dulzaina is an edited one-shot music film which details the manic walkthrough time-lapse of an imaginary synthesised dulzaina (Spanish folkloric instrument) being taken for a walk through the "Las Vegas" like dressed streets of a small village festive celebration set somewhere in the near future.

The visuals are nods to the Bladerunner, Lynch, Weirdcore and Kubrick where the glow of transparent neon CRTs, display technical diagrams with a music technology theme. Some suddenly slide up from the ground, while others cross from one side of the street to another.

The music is inspired by minimalism, industrial techno synth-folk where Steve Reich and Techno meet Raymond Scott and 1960's BBC radiophonic.

Musical Equipment Detail:

Intro: Moog Subharmonicon through Fairfield Randy's Revenge ring modular - into two crunchy Elby Systems stereo valve preamps and out into a stereo pair of Doepfer A-199 spring tanks).

Dulzainas: Buchla Easel Command sometimes untreated and sometimes solo through a J.H. 'Son of a Storm Tide' stereo analogue studio flanger (built by Van Daal Electronics (second dulzainas and very low transition whoooses). Buchla and Subharmonicon sync locked and clock divided by Ornaments and Crime clock divider.

Final wormhole sequence: Subharmonicon through stereo A-199 Doepfer spring reverbs and Paulstretched.

This work is not sponsored by any the manufacturers mentioned. They are personally purchased pieces of equipment.

Album:
https://distrokid.com/hyperfollow/ele...

CLICK FOR MORE »

TMP-2-03 Vintage Synth TV Series from Benge

video upload by Memetune Studio

00:00 Opening Titles
00:32 Introduction
01:29 Little Black Boxes
05:54 Switched On Cybersynths
13:24 Synthesiser Club
16:24 Commercial Break
17:33 Patching Today
31:51 Video Lab
36:22 Outro

////////////////////////////////////////////////////////

Episode three of the second series of the TV program from Benge, made at his Memetune Electronic Music Studio

The series explores his passion for vintage synthesiser instruments and studio gear and how he uses it on his productions and collaborations

////////////////////////////////////////////////////////

It is divided into the following sections:

LITTLE BLACK BOXES - A look at some classic rack mount synths of the 80s and 90s

SWITCHED ON - This second series looks at a type of synthesis based around the ideas of Cybernetics, which Benge calls CYBERSYNTHESIS

SYNTHESISER CLUB - A short musical demonstration of a synthesiser classic or three

COMMERCIAL BREAK - Some shameless Memetune shilling

PATCHING TODAY - A deep-dive into vintage modular systems and how to set up a patch on them, starting from scratch

VIDEO LAB - A look at old video equipment and how to create experimental visuals

////////////////////////////////////////////////////////

In THIS episode:

LITTLE BLACK BOXES - The Roland Super JV-1080 layersynth from 1994

SWITCHED ON CYBERSYNTHS - Electronic Tonalities and The Krell. We go deep underground on the planet Altair IV to explore the beguiling "Krell Patch" on a giant Buchla 200 system

SYNTHESISER CLUB - An assortment or Arps!

COMMERCIAL BREAK - Brand new Memetune Merch - T-Shirts, Tote Bags and Badges - support this channel and search for BENGE BANDCAMP and look for the merchandise section

PATCHING TODAY - The EMS VCS3 (and friends) from the late 1960s

VIDEO LAB - In this episode - a look at ALIEN WORLD BUILDING, based upon the world of Benge’s short film “Proof of Hyper-travel”

////////////////////////////////////////////////////////

LINKS:
Todd barton & the Krell Patch (Buchla tutorials): http://www.toddbarton.com
Benge's Studio Blog: http://myblogitsfullofstars.blogspot.com
Memetune Studio Instagram: https://www.instagram.com/memetunestudio
Benge / Memetune Merch on Bandcamp: https://zackdagoba.bandcamp.com

////////////////////////////////////////////////////////

The MemeTune Programme Credits:
Everything in this video was created by B D Edwards (Benge)
All music, design, writing, filming and production completed at Memetune Studios, UK, 2023

SmplTrek version 3.0 is now available!

video upload by SONICWARE

New features of version 3.0
- Added Performance mode that allows you to play on the home screen
- Loop playback of a project
- Mono mode and legato mode are added to the INST track
- Add transpose to INST / MIDI tracks
- Auto-step recording function added to INST / DRUM / MIDI tracks
- Clip copy to another track
- Improvements to the track EQ
- Metronome on/off while editing a clip
and numerous improvements and bug fixes have been made, including the return of the scene switching function using MIDI Program Change.

Sonicware SmplTrek v3.0 Quick Guide

video upload by ChrisLody

"Full Disclosure: I occasionally take on freelance work at Sonicware on an hourly rate producing synth & sample sound design, beta testing, checking English text and video manuals like this. Any other shorter videos on my channel containing Sonicware products are not paid content.

If you'd like to know more about the Smpltrek then please visit the Sonicware website: https://sonicware.jp/
SmplTrek update guide: https://www.sonicware.co.jp/DL/SmplTr...
SmplTrek v3.0 firmware: https://sonicware.jp/pages/downloads

0:00 Teaser bit
0:16 Intro
1:14 Performance mode
4:17 Project looping
5:45 Mono and legato instrument modes
6:54 Clip copy improvements
7:35 Transpose feature
8:55 Auto step sequencing
9:40 Easy metronome access
10:10 Select clips using midi
10:25 Outro

- Added Performance mode that allows you to play on the home screen

Press func + left selection button (under the screen) to play INST / DRUM / LOOP track.
Track selection is made with the up/down keys on the D-pad, and the following controls are also available using knobs A to D.

CLICK FOR MORE »

A History of Synthesizers.com by Creator Roger Arrick Himself

Roger Arrick, the founder of Synthesizers.com, wrote a history of his business. It's a fascinating look at the inception of one of the first modular makers of the new gaurd. You can find the full the full article on his website here. The following are just a few excerpts. I included an interesting bit on an almost stolen system.

CLICK FOR MORE »

Demo & Detail of a Switched Formant Synth Module Made From a 1960s Bell Labs Speech Synthesis Kit

video upload by ParadisoModular

"This video describes and demonstrates a novel synthesizer module I recently designed and built out of a "Speech Synthesis" Kit that was distributed to schools by Bell Labs in the 1960s. After walking through some basic background on the kit and how I adapted it, I demo the kinds of sounds this module makes."

You can find a handful of posts featuring Bell Labs Speech Synthesis here, and all Bell Labs posts here. Don't miss the Alles Machine.

Solina String Ensemble - Serviced SN 0136212 w/ Music Stand

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

via this auction

"The repair included a re-wiring of the transformer, a recapped power supply, a ton of transistors have been switched out along with the master tone generator - the wooden sides have been repaired and the whole wooden structure has been re-enforced and has a fresh varnish.

Includes original glass music stand and schematics.

This one has seen some action but overall impact is really not bad: some wear and oxidation on the front panel and minor dings on the corners of the wood.

A small piece of the plastic music stand strip is missing and two burn marks on the keys are visible on close inspection.

The glass music stand has a few scratches - mostly smaller ones visible only when held up against a light."

CLICK FOR MORE »

Yamaha CS-80 Polyphonic Synthesizer

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

via this auction

"This Yamaha CS-80 is fully functional and in excellent condition. It has been thoroughly calibrated and serviced by Switched On technicians for ensured playability, reliability and studio readiness. Sounds amazing."

CLICK FOR MORE »

New Bugbrand NSH - Noise, Sample & Hold & Red Phase Shifter Modules

via Bugbrand

"NSH stands for Noise, Sample & Hold – a module which features analogue Noise and a pair of Sample & Hold processors.

The Sample & Hold circuits are identical, each with Input, Output & Clock input (with internal comparator, trigger level c.+1V). The Source Input can be set to either an external signal or takes the White Noise source direct. The S&H can be run at audio rates for ‘bug-crushing’ (analogue sample-rate reduction – NOT bit-crushing).

The Noise section is standard transistor-based White Noise, with a second Filtered output which passes through a simple tilt filter around 1kHz cutoff."

via Bugbrand

"The Phase is a 6 pole, analogue Phase Shifter designed for hands-on sonic thickening. Made up of 12 All-Pass Filter stages, it features fully balanced Input/Outputs, Feedback, and Modulation from an internal LFO and/or external sources. All in a very playable design, stemming very much from the blue Phaser module.

Check the Block Diagram image. The main Input is designed for typical line level signals with variable gain up to 20dB and soft-clipping so you can add some overdrive if desired. The Feedback input stage is similar but without the variable gain – it is normalised from the Phase output & plugging a jack plug in breaks this normalisation. The buffered input signal is split off to the Phasing stages and the dry signal also passes on to the output mixer where it mixes with the Phase stage outputs. The Phase stages is also buffered to provide a pure wet output.

The magic of All-Pass Filter stages, here built around three of the ever versatile 2164 quad-VCA chips, is that they alter the phase of signals at their filtering frequency while preserving their amplitude. (With a pure sine-wave, this would look like the waveform being shifted in phase from the input – but you’ll rarely be putting in a pure sine!). When you mix together the dry & processed paths, frequencies cancel each other out to create peaks & troughs in the frequency response. The main Phase control, combined with any modulation, sets the centre frequency for the filtering and covers the whole audio spectrum.

Dialing in Feedback passes the phase-stage output back around to its input (via a normalised jack connection – allowing experimentation with further external processing) which emphasises the filtering up to the edge of resonance. The Add/Subtract switch inverts the phase output & the feedback input to give two different response modes and there is also an internal jumper that allows some subtle behavioural differences by putting the feedback into either the first or second filter stage (set as standard to 2nd stage, down position, but… experiment!).

Static filtering (ie. without modulation) can be used to highlight particular frequencies, but bringing in modulation is perhaps the more readily audible approach – give it some movement! The internal sine-wave Low Frequency Oscillator (LFO) covers traditional sweep modulation (range approx 0.08-10Hz), but more interesting usage can be found with external sources such as sequencers etc. Note that when switched on initially, if the LFO Rate is set low then the oscillations will take some time to build up to full strength, so you may want to turn the control up full until the LED indicator is clearly blinking. The LFO also has a banana output jack (+/-5V). The External Modulation input takes a CV input (typically 10V peak-to-peak) and has a convenient polarity/mute switch. See the Understanding signals & voltages and Interfacing with Bananas pages for further technical details."

Bora demos

video upload by DecadeBridge

"This is a collection of short demos of Bora. Beats created with drum machines and Ableton live. Some delay and reverb has been used in Ableton on Bora's dry signal.

00:00 Pamela's pro workout triggering two envelopes output to Bora's pitch (Oscillators E + F) and VCA. Beats from Rample triggered by Pam's new workout.
00:59 Bora output to the desktop low pass filter. Cutoff controlled by CV A from the Korg SQ1. Bora's pitch (Oscillator D) controlled by CV B from the SQ1.
01:35 Bora's output running into the Microcosm. Korg SQ1 gate A connected to Bora's VCA in.
02:40 Bora's output into the low pass filter. Filter cutoff controlled by the SQ1 CV B. Bora's pitch (Oscillators C + F) controlled by the SQ1 CV A. The volcano drum is syncing the SQ1.
03:30 4 note drone using oscillators A, B, E and F.
03:58 Bora's output into the low pass filter. Filter cutoff controlled by the SQ1 CV A. SQ1 gate A to Bora's VCA in. Switched in and out.
04:53 Stacking notes with Bora by switching oscillators on and off. Running the output into MI Beads then using the wet/dry mix.
06:06 Rhythmic drones through the simple use of a gate from the Korg SQ1 to Bora's VCA in.
07:15 Using the Harlequin's context to control Bora's pitch and volume by switching scenes. Using Bora's buttons to quickly change the sound."

See this post for additional details on Bora.