Anachronistic

video by Mike Olson

"This is an electronic music composition which was created in 2018 using a vintage Polyfusion analog modular synthesizer. It is the first piece I’ve created using this particular instrument and I chose to restrict myself to using it exclusively as my only sound source for the piece. The title is in reference to the fact that I am choosing to use “antiquated” technology in this piece, (and all of my other recent electronic music compositions for that matter). I guess you could say that at this time in my life, I feel like I myself am something of an anachronism, in as much as I have spent years developing a set of skills that are no longer needed or valued, (except by special people who have an appreciation for them). Likewise, this Polyfusion synthesizer would be considered anachronistic by the vast majority of sensible electronic music composers. Perhaps that is part of what makes it attractive to me.

Aesthetically, this piece is a little on the dark side, (though not particularly lugubrious). It exhibits characteristics that could fall under such headings as “experimental drone” and “pattern-based minimalism”, over which sometimes ecstatic gestural outbursts emerge. Like much of my recent work, I am striving for a sense of restraint, which I am only partially successful in achieving. This ties in with the idea of limitations, which I am also very interested in. I begin every new composition by establishing meaningful limitations to work within. For this piece my limitations were that the piece must be all electronic and use only the Polyfusion as it’s sound source. This has resulted in a finished piece which unabashedly celebrates the sound of electronics and the sound of the Polyfusion modular synthesizer in particular. There is nothing in this piece which is trying to sound like an acoustic instrument of any kind. It is electronic and it sounds electronic. The only acoustic sound is the sound of the switch at the very beginning of the piece. This is literally the power switch for the Polyfusion being thrown. The hum which follows is the actual hum of the Polyfusion’s power supply. I mic-ed it and recorded the sound of that hum. Though this is not an audio signal being produced by the instrument, it is an audible hum which is in fact being generated by it. So it could be said that the piece starts with the physical sounds of the electronics, and then transforms into a sonic world that those electronic components produce as audio signals.

As is evident in the previous paragraph, the aesthetics of this piece tend to get tied up with the technology employed. So, let’s get into it. Without getting into the specifics of the modular synthesizer patching, the audio signal flow goes as follows: audio out from a VCA (voltage-controlled amplifier) on the Polyfusion, to a rehoused Big Muff distortion box, then to a standalone Moog ring modulator, then to a Vox wah pedal, and then finally on to a mixing console, through which the audio is recorded to a computer. Additional signal processing was freely added in the computer as the piece was being constructed. The Polyfusion was triggered (or played) through the use of a Future Retro pressure plate keyboard for the human performance gestures and a Dot Com Q960 sequencer and Doepfer A-155 sequencer for the quick-tempo patterns.

In addition to the keyboard and sequencers, there is another notable performance interface that is heavily featured in this piece: Knobs. As I listen to the piece, I can really hear the sounds being shaped in real time by the physical manipulation of knobs. These are of course, actual hardware knobs on the various devices, not automated software knobs. I didn’t really set out to make this a significant feature of the piece, but now that it’s done, I can clearly hear the knob-centricity of it. I find this interesting and very much in keeping with the hardware-based electronic character of the piece.

I feel I must now confess that there is also one audio signal sound in this piece that is not being generated by the Polyfusion, but which I chose to allow, even though I was breaking my limitation rule. This would be the ground hum sound of the Big Muff when it’s sustain knob is turned all the way up and no audio signal is coming into the device. I recorded a nice big chunk of this sound while very gradually adjusting the tone knob on the device. It is one layer in the complex of drones used in the first section of the piece. I see this sound as a kind of bridging sound between the acoustical buzzing sound of the Polyfusion power supply and buzzy analog synthesizer sounds that exist as audio signals within the wires."

The Shape Of Things That Hum

Uploaded on Feb 1, 2011 The Soundtrack of Zapresic

"Mini Moog 00:12
Vocoder 09:45
DX7 20:19
Fairlight 30:27
Simmons 40:12
TB-303 50:27

TB-808 1.01.01
Akai Sampler 1.11.20

The Shape of Things That Hum
is a synthesizer documentary series that first aired by Channel 4 in the UK during 2001.

The series focused on electronic instruments that helped shaped modern music, with every episode focusing on a specific instrument. The episodes were broadcast between 01.30am and 01.41am, and featured musicians talking about classic vintage synthesizers, including the DX7 that defined the sound of the 1980s.


Production company Allied Forces
Producer Jacques Peretti
First broadcast 2001
Original channel Channel 4 (UK)
Genre documentary
No. of episodes 8
Length 11 minutes (episode)

Episodes:

Mini Moog (15-01-2001) - Cult electronic instruments that helped to shape modern music.

Vocoder (22-01-2001) - Developed as a scrambling device in World War II, includes interviews with Orbital and Rick Wakeman.

DX7 (29-01-2001) - Synthesizer that defined the sound of the 1980s. Interviews with Vince Clarke and Nick Rhodes.

Fairlight (05-02-2001) - Computer based snthesizer offering sampling, digital recording, sequencing and editing. Includes Nick Rhodes.

Simmons (12-02-2001) - Includes producer Arthur Baker talking about making "Planet Rock".

Roland TB-303 (19-02-2001) - House innovators Coldcut and Orbital discuss the Roland 303 synthesizer.

Roland TB-808 (26-02-2001) - Includes producer Arthur Baker, plus Ray Keith talks about the importance of the bass.

Akai Sampler (05-03-2001) - Instrument that helped fuel the rave scene and the white label explosion"

Old post before Google video was laid to rest:

The Shape Of Things That Hum - Minimoog


The Shape Of Things That Hum - Roland TR-808


The Shape Of Things That Hum - Roland TB-303


The Shape Of Things That Hum - Simmons Drums


The Shape Of Things That Hum - Vocoder


The Shape Of Things That Hum - Fairlight


The Shape Of Things That Hum - Yamaha DX7


The Shape Of Things That Hum - AKAI Sampler


I actually put the AKAI Sampler vid up here.

HELLFIRE MODULATOR TS-21

images via this auction

Inside a TS-21

via brian c

"As you can see in the photo, this is the third unit produced. This unit is completely hand wired from point-to-point, and in EXCELLENT condition. This unit has an extra knob in the rear which is not mentioned in the owners manual, leading me to believe that this could possibly be an early prototype. The rear knob has an affect on the frequency of an oscillator, separate than the ones the L1 and L2 knobs control.

Metasonix has put its knowledge of tube circuitry to good use in the design of the TS-21. The unit is made up of three stages, each with its own tube: a preamp with a VCA, a pulse-width modulator (PWM), and an LFO-controlled waveshaper. Vacuum tubes are also used for the LFO and for powering additional circuits, giving you a total of five tubes in the device. Despite the tube count, however, the TS-21 has very low self-noise and gets only slightly warm to the touch.

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Kurzweil PCEK8, PCLE Series, and SP4-7 Stage Piano

"PC3K8 Overview [via]
The PC3 introduced the world to a new generation of ground-breaking Kurzweil technology, having a synthesis architecture that remains unparalleled in depth and flexibility, combined with a staggering amount of effects processing power. The PC3 sound set, which encompasses everything from the traditional to the cutting edge, has been widely acknowledged as second to none.

And now the PC3's successor has arrived. The Kurzweil PC3K is the pinnacle of our PC3 line, bridging the gap between Kurzweil's past successes and present innovations.
An Old Friend

The PC3K, already loaded up with the many impressive features and sounds of the PC3, allows users to tap into the massive wealth of samples and programs developed for our legendary K Series over the past 18 years. Capable of loading .KRZ/25/26 sample files, WAVE and AIFF files, as well as most of the K Series programs and setups, the PC3K presents a whole new world of choices to players, and once again underscores our commitment to the concept of non-obsolescence by design. You can choose to delve into the extensive libraries of existing K Series samples or decide to fill the PC3K's flash memory with your own signature samples. In either case, you'll have the most powerful version of Kurzweil's V.A.S.T technology ever developed at your fingertips to help sculpt your sounds and attain a level of detail and expressiveness truly worthy of your music. Sample files can be loaded via USB from a thumb-drive or directly from a computer.
Esto Immortalis

~ "Let it be lasting, immortal" (Latin)

User samples that do not "go away" when a keyboard is powered off - this is a feature that's been requested by keyboardists since the introduction of digital sampling in the early '80s. Clearly demonstrating the virtue of enduring quality, the PC3K offers 128 megabytes of user sample memory and compatibility with K Series files, while also taking an enormous leap forward by allowing user samples to remain intact while power is off. Once samples are loaded into the PC3K's flash memory, there is zero load time for those samples when powering on the instrument.

Advanced program, keymap and sample editing features allow you to customize your sounds with surgical precision. You're able to map any sample to any key, tune individual samples, change the start, alt start, loop point and end point of samples and even assign a controller to adjust sample start point in real-time.
Light Years Ahead

Under the hood of the PC3X is simply the most powerful synthesis engine ever created by Kurzweil. Dynamic V.A.S.T. picks up where the K series left off. Having up to 32 layers per program means that emulations of real instruments can be extremely detailed and accurate, while the synthesized sounds can be extraordinarily large and complex.

Expanding upon our V.A.S.T. architecture, the PC3X's new architecture delivers more power and flexibility combined with unprecedented ease of use. Users can now create and store their own DSP algorithms, with nearly limitless possibilities for routing.

In another huge development, we've resurrected the VA-1 Virtual Analog Synthesizer, having built it's synthesis engine right into the new system. Hear the VA-1's power-shaped, anti-aliasing oscillators (including supersaw, triplesaw, and hard sync oscillators) combined with a newer, larger set of V.A.S.T. filters (like the classic-style 4pole low pass w/ resonance) and non-linear processors and you'll understand why the internet is buzzing about this feature.
It's The Sound

The PC3 Series's advanced synthesis architecture, along with its painstakingly-edited sample ROM, allowed us to create a sound set that is both broad and deep, with no compromises on sound quality. Referred to by some in the music industry as "the solid gold Swiss army knife", the PC3 line has become well known for having covered all the bases when it comes to presets. Whether it's the famous Kurzweil grand piano, the wide array of deadly-accurate vintage keys emulations, KB3 Mode, VA virtual analog sounds or the hundreds of world-class orchestral and string section programs, the PC3K provides over 900 presets that let you know that it does everything and does it well.
Plug And Play

Saving, loading and updating the OS are all made easy on the PC3K with the inclusion of both USB Host and Device ports. You can save your user programs, setups and songs to a USB thumb-drive or directly to a computer. Samples and OS updates can be loaded from a thumb-drive or directly from your computer, and of course the PC3K sends and receives MIDI over USB.
Finishing Touch

In a nod to the design of classic synths and keyboard instruments from years past, the PC3K, the top of our PC3 line, has been fitted with handsomely crafted wooden end-caps, adding an element of luxury and refinement that beautifully complements the awesome technology at the heart of every Kurzweil keyboard.

Suggested Retail Price: $4199
Available: Summer 2010"

""PC3LE6 Overview [via]
The Best Sounds, The Best Features, The Right Price
First Things First...

Fantastic sounds, reliable performance, musical expressiveness, ease of use; these are the things we believe are essential to the design of an affordable keyboard instrument. Kurzweil's new PC3LE6 combines the amazing sound quality and performance control features of our enormously successful PC3 with a new streamlined, intelligent user interface, providing an interactive experience that is bound to inspire creativity.
It's The Sound...

Under the hood, the PC3LE features the same groundbreaking chip technology that has made the PC3 the most talked about keyboard in recent years. All of the PC3's sounds are included - the famous Kurzweil grand piano, vintage electric pianos, Clavinets and Mellotrons, dazzling Orchestral and Strings collections, stunning VA virtual analog synths, KB3 organs, realistic basses, drums, guitars, percussion and horns, General MIDI, plus nearly 200 new programs developed specifically for the LE; over 1050 programs in all. We've improved the method for navigating through such a massive sound set; programs in the LE can be viewed and selected with a new set of Category buttons. Select "Leads" and you'll see a list of all the synth leads in the machine, grouped together. Same goes for the other 20 categories, everything from Synth Bass to Mallets to Guitars.

These programs take advantage of our V.A.S.T. synthesis engine, using pristine samples paired with detailed programming of literally hundreds of synth and effects parameters. Whether it's the rosin of a bowed string instrument, the resonant harmonics of a piano's damper pedal, or the thumps and squeaks of an electromechanical keyboard, we've done our homework and provided a level of detail and realism that can only be found in a Kurzweil. Which means you can focus on the important business of making music.

The PC3LE6 comes equipped with over 700 onboard effects chains from which to choose, all with real-time controllers already assigned to relevant parameters. With world class reverbs that decay into complete silence, warm, classic sounding phasers, flangers and choruses, and burning, saturated distortions, you'll have everything you need to make your music sound like a polished, finished product from the outset. The PC3LE6's architecture provides up to 10 insert effects, which can be distributed among 10 channels, with an available auxiliary effect as well.
Interactive...

In the PC3, we introduced the "INFO" feature, a soft button-press that allows the user to see which controllers have been assigned to parameters within a program. For the LE, we've taken this to the next level, with an interactive user interface that communicates directly with you whenever you move a real-time controller. Turn a knob, hit a button or move a wheel and the LE's screen will display the controller, its real-time value and the parameter being affected. An example would be moving the modwheel on an organ program - you would see the following: "Modwheel 79 Distortion Drive". This system never breaks down - you can change effect chains freely and all of this info remains intact, updated to reflect the new chain you've selected. Also, this info is transferred seamlessly to Setup Mode - you can see whatever controllers have been assigned to programs used in any zone of a setup.
Customizing Your Sound...

Prefer to spend your time playing over sound-programming? Think of the LE as the preset-player version of the original PC3. All the sound, no deep programming necessary.

At the same time, we wanted to give users the quickest, simplest possible way to adjust the PC3LE's sounds to suit individual tastes and needs. In any given program or effects chain, select relevant parameters have been pre-assigned real-time controllers for easy access. Move a controller and hit the SAVE button - no menus, no pages with endless parameters - and you get one touch sound customization.

Also, we understand that flexibility is important when it comes to customizing your sound. Don't want filter frequency control on a knob? Prefer to have it assigned to the modwheel? No problem. The PARAMETERS page allows you to re-assign any controller to any available* parameter. You can save your custom sounds to the user bank, with over 1000 ID slots.

*available parameters are predetermined and vary per program
A Different Drummer...

With the PC3LE6, we're introducing a new set of dynamic physical controllers - 8 backlit, velocity-sensitive drum pads that can be used to trigger sounds, sequences, chords and arpeggiations. Every program in the machine has a drum kit assigned to the pads, so you'll always have access to a rhythm track when you need it. As a bonus, we've included a set of over 100 new drum programs, with acoustic brush kits, slammin' rock kits and a number of heavily effected techno/electronic kits, in addition to the 24 existing kits from the PC3. Just as we put a great deal of effort into making sure that our keyboard action feels just right, the drum pads were implemented with precision and care, with utmost attention given to how they feel when played. After all, this is a musical instrument and not just a piece of technology.
Everything Else You'd Expect...

Complimenting the LE's new features are a few old familiar Kurzweil favorites; Setup Mode, Quick Access Mode and Song Mode, all taken directly from the PC3.

Setup Mode enables the LE to act as a powerful MIDI controller as well as providing 16 simultaneous, independent, fully programmable arpeggiators, with factory and user-programmable patterns. On top of that, each setup can have up to 16 simultaneous Riffs - sequences that can be triggered by buttons, drum pads or notes on the keyboard. While Setup Mode, with up to 16 zones each with its own program, is still as powerful as ever, we've added a Split/Layer button to make the creation of simple setups quick and easy.

Quick Access Mode allows you to create custom banks of 10 sounds that can be accessed by a single button-press. And Song Mode delivers a full-featured 16 track sequencer with all of the powerful editing features that you'd find in a high end workstation - event editing, swing, controller scaling, input quantize, input filter, and chasing controls. User memory provides over 1000 ID slots each for your own QA banks, Setups and Songs.
Connectivity...

Saving, loading and updating the OS are all made easy on the LE with the inclusion of both USB Host and Device ports. You can save your user programs, setups and songs to a USB thumb-drive or directly to a computer. OS updates can be loaded from a thumb-drive or directly from your computer, and of course the LE sends and receives MIDI over USB. Standard MIDI jacks are also included for In, Out and Thru. For audio, the PC3LE6 features high-quality, hum-canceling, stereo balanced analog outputs, with 24-bit DACs as well as a 24-bit stereo S/PDIF digital output at 48K.

Suggested Retail Price: $1695

All specifications subject to change without notice."

""SP4-7 Overview [via]
Kurzweil's SP4-7 is the modern successor to our best selling SP76, which famously combined world-class Kurzweil sound quality with previously unheard of affordability and portability. The updated SP4-7 makes available to more players than ever the same sound set featured in our hugely successful PC3 line of professional keyboards, in an instrument that is slim, lightweight and extremely easy to use.
Good Things Come In Small Packages

Here at Kurzweil, we realize that many musicians have the need for a keyboard instrument that is both compact and lightweight. The SP4-7's enclosure is slender, elegant and easy to lift; once set up it leaves the smallest possible footprint, which means that you, not your keyboard, will be in the spotlight.
Up And Running In Record Time

With a user interface that's intelligently designed to make things as easy for you as possible, the SP4-7 provides the features that are most important, right where you'd want them. Create splits and layers with the touch of a button; select presets and setups from easy to access category and program buttons; quickly adjust effects parameters; everything is laid out so that you can be up and running and making music right out of the box.
No Compromises

While the SP4-7 is the most affordable keyboard that we currently offer, no compromises were made, no corners were cut, when it comes to its sounds. Featuring 128 hand-picked programs taken directly from our acclaimed PC3 line, the SP4-7 delivers the best of the best in every category of sound, with our famous Triple Strike Grand Piano, classic electric pianos and lush strings and orchestral instruments, along with top notch basses, guitars, winds, brass, percussion and drums. Its 16-part multitimbral architecture makes the SP4-7 a powerful tool for writing and recording music in conjunction with an external sequencer or Desktop Audio Workstation.
Icing On The Cake

In addition to utilizing programs from the PC3, the SP4-7 also features dozens of the PC3's professional quality effect chains. Everything from flawless concert hall reverbs and crisp delays to powerful distortion and amp simulation effects add another layer of depth and realism that can only be found in a Kurzweil. The most relevant effects parameters have been mapped to the SP's Timbre knob, so you can customize your sound without having to dive into menus or manuals.

Suggested Retail Price: $1349
Available: Summer 2010

All specifications subject to change without notice."


http://www.kurzweilmusicsystems.com/Product.php?id=207

Studio Electronics Eurorack Modules

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

via NOISEBUG Reverb

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

"What's nice about our OSCILLATION stunner (according to Tim) "is that the waveforms are DC-coupled [components connected directly together without any coupling capacitors], so they keep their shape even at sub-Hz speeds. The outputs are also buffered, so the amplitude is independent of the load they are driving. The waveform levels on some modern eurorack OSCs are often all different, and they vary depending if they go into the mixer or directly to the filter!" Coupling the circuitry without capacitors in-line gives the go-ahead for the full spectrum of frequencies to do their thing, and ensures near identical response over the years—audiophile, transistor-protecting signal path stuff here. You should see these beauts on the scope: a Class-A ballet of balance and proportion, only drawing modest current, rather evenly from plus and minus."

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User Petition for KORG Electribe Software Update

The petition is on Change.org. Details follow:

"The Electribe 2 and Electribe 2 Sampler are digital Music Production Stations that were released in 2014 and were created using Korg’s latest modelling technology, have an effect for every part, polyphony and velocity–sensitive drum pads. The Korg Electribe series is a Digital analog modeling synthesizer that was first produced in 1999.

Through the years, the Electribe series helped define an entire generation of dance music. With the 2014 Electribe 2, fans of the Electribe series were hopeful that the new instrument would live up to the legacy that the predecessors established.

Unfortunately, upon release, some important features were missing and many Electribe 2 owners are disappointed in a lack of functionality and hindered capabilities on the devices. While a few earlier issues had been addressed in previous updates, there still remains a substantial list of problems and improvements to address. Korg has indicated that they are resolved to continue to create innovative and uncompromising instruments which maintain the high quality that inspires professional artists and creators. (Source: Link) We are hoping that viewpoint encompasses these instruments as well. The user community is recommending continued development of the Electribe 2 and Electribe 2 Sampler to help remove the bugs, address the missing features, and improve and complete the instruments.

These are the current issues and problems:
1. Voice Stealing: Unfortunately, even when no fx and no polyphony is activated on the units, just 10-11 tracks can play simultaneously without voice stealing. It doesn’t seem reasonable that muted parts or IFX use CPU power and steal voices when not playing. For instance, when only 4-8 IFX are used in a pattern, the Electribe 2 seems to unnecessarily calculate all 16 IFX.
2. Note cutoff on pattern change: When switching patterns, the notes and effects from the previous pattern stop playing. This causes issues with the live-playing capability that the units were designed for.
3. Knob (filter) improvements: There is a significant amount of "jumping" when trying to adjust the knobs in small increments. This could be improved with improved tracking of the knobs, or greater resolution of the filters, or simply enabling the shift+knob (fine tune) option for filter movements.
4. Re-triggering glitch: There is a noticeable digital click or pop sound at the initiation/beginning of the sound (synths and samples) when re-triggering notes.
5. Song mode is lacking: One of the greatest features of the predecessors (older electribes) was the ability to create entire songs by setting the unit to automatically play patterns in a specific order to build a complete song.
6. Audio and MIDI glitch when saving: When saving a pattern while the instrument is playing, the audio and MIDI clock have noticeable glitches, making it nearly impossible to save a new pattern while playing live.
7. Fix Noise (high pitched noise [~13kHz]) when audio in is enabled, and the hum when power save mode is enabled on the unit with audio in.
These are the current recommended improvements:
8. Pre-listening of samples directly from the SD card.
9. Enable access to the “sample import” menu more direct. A simple way to achieve this would be: long press on a pad + Menu/Enter = direct access to the SD card file tree.
10. The units should have the ability to chain patterns together (for longer patterns than just 4 bars).
11. Revise display screen to display more information: knob values; FX info; ADSR graph; waveform representation on the screen - for quick editing; and the display should show if the current value isn't the original value anymore (like on the EMX/ESX).
12. Add an "undo" feature (possibly by using: shift+exit).
13. Revise the arpeggiator to include Up/down, random, and scales.
14. Improve the step sequencer as the current workflow is clunky and often problematic. Recommended: make the step sequence menu circular so you can left arrow from the on/off screen to the velocity screen and implement a step record function as was present in previous Electribes.
15. Pads should blink in Mute mode.
16. Send CC automation values to MIDI out.
17. Decay and release could be separated. A simple way to implement this would be to use the shift key to edit the release amount.
18. Unit should have synced step jump so it stays in time on release.
19. Add the ability to loop individual bars.
20. Add the option for per part play speed: allow a single part to be played at half speed / quarter speed or other option.
21. For the E2 have the step edit for Oscillator edit just like in the E2S.
22. All Step Jump actions and changes recorded and reflected in the sequencer in NORMAL record mode.
23. Add the ability to set velocity numerically for each part; 1-127.
24. Add the ability in Mute mode to press/hold the Mute button to select tracks/pads and chose record mute on/off.
25. Visual display of scales and chords played on part.
26. Add the ability to be able to enter notes or chords in sequencer mode and the ability to nudge notes.
27. Add the option for MIDI local on/off and/or midi thru and MIDI channel choice per part (should allow part layering).
28. Direct access to editing various modifications/parameters of each step.
29. Add the ability to copy/paste bars/notes around the whole machine.
30. BPM LFO's should be parameterized by musical values.
31. Add the ability for per part MFX send level.
32. Add the ability to be able to assign the X-Y pad to do different modification parameters and save that setting with each Pattern.
33. Add a time stretch function for samples.
34. Key transpose in sequencer mode and make transposing of whole parts easier.
35. Follow the playback position on the pads.
36. Add the ability to save and load different pattern sets (.all files), and associated sample sets, to and from the SD card.
37. Revise the manual to include details about MIDI implementation and the unit’s voice architecture as well as any improvements.
Many Electribe 2 users are extremely pleased with the instrument and find the new Electribes to be incredibly useful and fun music production tools. In addition, most Electribe 2 users also feel that Korg addressing these issues would help these instruments reach their full potential and likely result in a revived interest in the machines and increased sales.
Sign this petition to help make the Electribe 2 and Electribe 2 sampler updates a priority for Korg, Inc. We are requesting that they address the problems with additional updates so we can make the most of these incredible machines."

This one in via a reader who spotted it on the Korg Electribe User Group on the Korg forums.

NYZ DRN4 DECLASSIFIED

Exclusive mix on SoundCloud:


And a track from the release on Bandcamp:


Tracklist:

1. NYZ_FMMGKSQ_43t
2. ISR_16x16_WCM
3. CSN [excerpt 2 mono]
4. SWI_r170_16x32x32_B
5. SWI_FM1#16
6. NYZ-1_1#08_A [finite downsized]
7.CSN1 [excerpt 1 mono]

Be sure to see the MATRIXSYNTH exclusive further below!

FM EXPLORATIONS AND MICROTONAL DRONES FROM NYZ (AKA DAVE NOYZE, DAVID BURRASTON, NOYZELAB, BRYEN TELKO)

This is the first release by NYZ and is a superb musical collection of research areas classified to internal Noyzelab operations. Not even .MEDS label were informed of the secret processes underlying its creation, excepting that we know it involved Frequency Modulation (FM) synthesis! We have not been given any information regarding when this work was recorded, but we suspect the material spans at least a decade of David's FM algorithm research on numerous synthesizers, as well his own custom built ear deceiving gear...

According to one reviewer of David's previous musical output he "gleefully disrupts just about every standard convention of musical form you could think of, including those of so-called experimental musics."

Other reviewers have written that :
"His music is a bizarre, yet compelling journey investigating the outer realms of music generated on ancient & contemporary machines." "It's strikingly original audio that doesn't really sound like anything else I can think of." "Utterly sublime. So there you go, a life-affirming slab of mind-altering sound to reawaken you to the terrifying possibilities of creation."

"absolutely wreaks havoc" wrote Keith Fullerton Whitman on reviewing David's last release T. H. Cycle cassette on Important Records/Cassauna .

Cassette releases April 1, 2016

All Audio by David Burraston
Design Tom Knapp

----

MATRIXSYNTH recently asked NYZ why he put together this new album of FM synthesis based explorations, and whether he would discuss some of the process behind it. The declassified information below has been put together by NYZ especially for a MATRIXSYNTH exclusive.

***BEGIN NYZ DRN4 DECLASSIFICATION REPORT***

DC REPORT STATUS: PARTIAL DECLASSIFICATION ONLY
PARTIAL DC STATUS: INCOMPLETE CELLULAR BINARY SPACETIME
PARTIAL DC LEVEL: SEMI-PICTORIAL_TEXTUAL_HIGHLIGHTS
FUTURE DC STATUS: _PENDING

The main reasons for making this album were an interest in FM synthesis in both analogue modular and MIDI/digital mediums. I had worked with digital FM synthesis since getting a Yamaha TX81Z when they came out back in 1987 (which I still have, along with another backup machine with a very hummy mains transformer which bleeds onto the outs). How me and another synth friend used to cry with drunken laughter at preset D11 Hole in 1... :) But after initially wondering whether I had just wasted about 350 UK pounds on an utter piece of shit... I quickly warmed to its better presets, and its very different approach to synthesis yielded enough interesting results early on for it not to get outed.

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Moby's Drum Machines For Sale

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

You can find them on Reverb here.

Don't miss the video here.

Update: some pics and details captured. I made the mistake of trying to capture them all and then realized how many were listed. :) I ended up switching to the more esoteric models. Quite a few have never been featured here on MATRIXSYNTH before. What's a little bit interesting, is only two new labels were needed, one for Domino and one for Side-Kick-Er. All other brands have been featured before. See the labels at the bottom of this post. Side note: Blogger limits the number of characters to 200 for labels, so I wasn't able to capture them all for this post. You can always search for the brand names featured for more. I assume most do this anyway. The labels are more for maintenance and for finding posts that may not feature brand names in descriptions.

Pictured:

Realistic Concertmate Electronic Accompanist-Metronome

"Fully analog rhythmic companion utilizing 5 beat buttons to combine how you wish. Features metronome, speaker and line out, and tempo control.

Serial: 42-2103. Works with no issue."

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EMS PITCH TO VOLTAGE CONVERTER

via this auction

"EMS Pitch To Voltage Converter, perfect to add to your Synthi or VCS3. Also interfaces with other modular/cv synths. Fully functional but missing the front panel 'reference tone' switch (an easy repair and the switch can be ordered from EMS - the ref. tone is currently set to 'off') and comes with mini-Bulgin power lead. The module is internally switchable between 110V and 220V.

Previously owned by Malcolm Cecil and formed part of TONTO. "Tonto is an acronym for "The Original New Timbral Orchestra," the world's first (and still the largest) multitimbral polyphonic analog synthesizer, designed and constructed by Malcolm Cecil. Tonto featured on albums from Stevie Wonder, Quincy Jones, Bobby Womack, The Isley Brothers, Gil Scott-Heron and Weather Report, as well as releases from Stephen Stills, The Doobie Brothers, Dave Mason, Little Feat and Joan Baez, Steve Hillage". More info here

from the original spec sheet -

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Elektron Interview with John Chowning, the Father of FM Synthesis & How to Explain FM to a Child

Elektron recently announced the Digitone Digital FM Synthesizer. They've posted an interview with the creator of FM synthesis, John Chowning, on Elektronauts here. The following is the beginning excerpt including how John would explain FM synthesis to a child, meaning anyone new to FM synthesis.  :)  Note when he mentions vibrato depth increasing he is referring to one operator or oscillator modulating another.  In FM synthesis you have different mappings of operators modulation each other.  Be sure to see the full interview for more, including other topics.

"We had a good, solid talk with John Chowning, inventor of FM synthesis. Since its first musical use, FM has greatly expanded the musical possibilities of digital instruments. Its impact on every imaginable genre cannot be overstated, from contemporary classical music to dubstep. It was the synth sound of the 1980s, immortalized through the Yamaha DX7. John, however, does not refer to it as an invention. According to him, FM is a gift of nature that was just waiting to be discovered.

Now, understanding FM may seem daunting at first, as it incorporates some fundamental properties of math, music and acoustics. The beauty of John’s discovery is that (once properly used in a synthesizer) you don’t need to fully understand it. Just use your hands and ears to intuitively produce musical results that are pleasing, surprising, harmonic or inharmonic to your heart’s desire.

How would you explain FM synthesis to a child?

I would show the child how he or she might begin clapping two hands together, faster and faster and faster, them jump to the computer and show that we can make the claps even faster than the child is able to clap, and have the child listen to what happens. How the rate of claps changes from once per second, gradually through 8 times per second, to 16 times per second, all continuously increasing the rate until the child begins to hear a pitch.

At some point, I would say: 'why don’t you hum the pitch that you hear?' Now, I would do the same thing in reverse, you hear the pitch which the child has hummed, maybe something like 400 Hertz, which would be pretty close to G above middle C. Then I would reverse it, and as it slows, ask them to jump at in the moment they think they can clap that fast, and then slow down the computer-produced clap. We’ve established the fact, that when things happen at a certain rate, about 20-30 times per second, you no longer hear things as individual claps. You begin to hear things as tone quality (timbre) and then pitch.

Then I would do the same thing using the computer, with a sinusoid changing pitch — a vibrato. With a violin at hand, I would show what vibrato is — at the same pitch that the child hummed — and let my finger go up and down the fingerboard at an increasing rate. Again, jump to the computer with a sine wave at the hum pitch of 400Hz, with a vibrato depth increasing to ±40Hz at a rate of 1Hz. Then gradually increase the vibrato rate from 1Hz to 400Hz. As a last step I would gradually increase the vibrato depth to ±400Hz and we have caused the quality of the tone at 400Hz to change. All of a sudden we hear frequency modulation synthesis as a model of the original violin. That’s one way of explaining it!

It’s a phenomenon that has to do with the auditory system, and I think it’s partially understood why it happens. It can be intuitively understood when we connect it to a real-life case, like vibrato in a musical instrument, which is a special case of frequency modulation. Once we’ve got the sinusoid modulating the carrier from 1 -400 Hertz, then we can change the distance up and down the keyboard, and show how the quality of the tone changes with deviation. That’s basically how I would explain the properties of modulation rate and modulation depth to a child.

(I would also change the order in the demonstration, which is equally, if not more interesting — that is, first increasing the deviation of the 400 Hz sinusoid from ±0Hz to ±400Hz at a rate of 1Hz and then gradually increasing the rate from 1Hz to 400Hz.)"

WASP SPECIAL SYNTHESISER SN 10015

Wasp Special Demo

YouTube Uploaded by 1224Johnmac on Feb 3, 2012

"Here's a little demo of my old Wasp Special vintage mono synth from the 1980's. I'm trying to use all of the knobs to show they are fully functioning. This is a rare model of Wasp with a real wood case. It is serial number 00015 which suggests it was one of the first built. I'm using a modified Epiphone Valve Junior amp to play it through. The sound is being picked up by the built in mic on the Vado camera I'm filming with so the sound reproduction isn't great. I hope you find the video useful. I will be parting company with the Wasp soon."


via this auction

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Broken Polivoks

Published on Nov 23, 2014 The Outsider

"Well... I was planning to use the beast in a show I played a few weeks ago (Nov 8, 2014) but 5 days prior it up and shat itself. As you can see/hear, there is a very, very faint, constant hum, and when the EGs are triggered the same hum gets louder. The hum doesn't change in pitch (i.e., all keys trigger the same pitched hum). The VCOs, Modulation and Mixer sections seem to be working fine. The filter is a bit different from before though. The bandpass doesn't seem to really change all that much across the range of the knob, whereas before it was definitely working properly. Also, The cutoff knob affects the hum when turned down almost to the off position. I've replaced all the capacitors already. I've also re-socketed and replaced over half the ICs (140ud8b and 140ud8a so far). I have no idea what is wrong with it... :( :( :("

If anyone has any ideas, feel free to comment.

Dopefer A-100P Analog Modular Case

images via this auction and this auction.
"The A-100 basic frame with 6HU is available even as a portable 6 HU suitcase version without additional charges. The portable 6 HU suitcase version has the same usable space available as the normal basic frame (i.e. 2 x 84 HP). The suitcase is available in two versions:

Version 1: In this version the mains inlet is located at the front in the lower row at the right side. In this version one has to subtract 8HP for the mains inlet in the lower row (i.e. only 76HP available for the lower row). The advantage of this version is that the system is closed all around if the cover is put on and that it can be used in vertical and horizontal position. Even the mains inlet is protected during transportation. The disadvantage is the reduced width for the lower row. And some users do not like the mains inlet at the front.

Inside the removable cover there is sufficient space for both versions to carry the system completely patched or to move patch chords and the power cable. The A-100 suitcase can be used vertical or horizontal as the suitcase has rubber feets on the bottom and rear side (version 2 only vertical because of the mains inlet at the rear panel). The top is equipped with a handle.

The A-100 suitcase is made of black or grey coated wood with aluminium extrusions with the rail construction fixed to the other parts of the suitcase (the delivery time for the grey versions is about 4-6 weeks). Attention! It is not simply an empty wooden case that covers the standard 6HU frame but a completely independent construction that is not based on the 6HU standard frame. It is not possible to convert a standard 6HU frame into the suitcase version !

The two bus boards and the standard power supply are mounted at the rear panel. Consequently the rear panel cannot be removed.

Measures:
outside approx. 460 x 330 x 175 mm (without cover and rubber feet)
outside approx. 460 x 340 x 220 mm (with cover and rubber feet)
inside usable depth for A-100 modules: approx. 80 mm in the power supply area (bottom right), resp. approx. 100 mm in the remaining area (measured from inner side of the front panel until end of the pc board of the module)

In the area near the power supply (bottom right) no modules should be assembled that are sensitive against transformer hum. We recommend to assemble only control voltage modules in this area (e.g. LFO, ADSR, trigger delay, clock divider/sequencer, sequencer, slew limiter, MIDI interfaces and so on) but no audio modules (VCO, VCF, VCA, VCP, frequency shifter, ring modulator, spring reverb and so on). Even modules width increased depth (e.g. A-113 or A-126) cannot be assembled in the power supply area. They have to be placed in a position outside the power supply area. But this applies only for a few modules. Normally it is no problem to arrange all modules by mounting modules with smaller depth in the power supply area."

Joe McGinty's Klaviphon: Vintage Czech Electric Piano

Klaviphon: Vintage Czech Electric Piano Improvisation Published on Oct 20, 2018 Joseph McGinty

Great discovery and story by Joe McGinty. Joe McGinty, btw, was the keyboardist for The Psychedelic Furs. He has also worked with Ryan Adams, The Ramones, Nada Surf, Kevin Ayers, Martha Wainwright, Die Monster Die, Devendra Banhart, Ronnie Spector, Jesse Malin, Amy Rigby, Space Hog and others. And of course, he has also been featured here on MATRIXSYNTH numerous times. :)

Video description: "A short improvisation on the Klaviphon Electric Piano, a rare electric piano from Czechoslovakia. I traded a broken Czech wrist watch for this keyboard at a small shop in Prague. At the shop, there was no way to test it but I could hear the reeds 'acoustically' so I figured it was cool enough to gamble on it. It sounds sort of like a Pianet.

The electric piano is going through a Moogerfooger Analog Delay, an Electro Harmonix 16 Second Delay and a Roland Jazz Chorus. Audio is from the iPhone. Video effects are from Maelstrom from Signal Culture."

And the story of how Joe McGinty acquired the Klaviphon:

"The Broken Watch and The Klaviphon

This is a story that starts with a wristwatch purchase and ends with me owning a rare, vintage Czech electric piano. “When in Prague”, my friend Cathy wrote, “check out Prague Antiques. It’s full of bric-a-brac and the owner is a Serbian man who is married to a Croatian woman”. When traveling, Amy and I always look for vintage stores, thrift stores, record stores and any place that might have some obscure vintage instruments. I had found a record store, but no luck with vintage instruments. Cathy’s recommendation was perfect, so we added it to our Saturday plan. I have to say Prague Antiques did not disappoint. The store was chock-a-block with cool knick knacks from the communist era.

We wanted to bring back a souvenir from Prague, but it was kind of overwhelming. Finally, we saw a display counter with vintage Czech wristwatches. They were all beautiful. Amy and I each picked one out. “Remember”, the shopkeeper explained, “these are vintage watches. They need to be wound. Young people come in here, buy the watch and come back a few hours later, claiming it’s broken. They don’t know about winding the watch”. Of course, we know about winding wristwatches (we’re old).

Later, we’re wandering around Holesovice, a very cool neighborhood. We stop to eat at the cafe at Cross Club, a multidisciplinary art and performance space. There are incredible sculptures there, and vintage czech radios hanging from the ceiling. I notice my watch has stopped. I wind it up, making fun of the youngsters who thought their watch was broken. Well, needless to say, a few hours later the watch stopped. And then it stopped again. So I realize, yes, my watch doesn’t work. Harrumph.

We had a sightseeing plan for the next day, our last day in Prague. Do we go back to the shop to return it? Or do I accept that I possibly have been swindled? We decide to start the day off at the shop, return the watch, and continue with our sightseeing plan.

The next day, we arrive at the shop to a sign on the door: “Please come to our sister shop, around the corner”. “Oh, great”, I’m thinking. We’ve definitely been swindled. However, the shop around the corner is much bigger. And it’s a different man in charge. I show him the watch and explain that it’s broken. He takes it behind the counter, looks at it for a while, and confirms in a thick accent, “you’re right. It is broken. My friend, he doesn’t know”. Chatting with him for a while, he tells us of his Croation wife, and we realize that he is the owner.

He is super nice and helpful and explains that we can exchange it for anything in the store of similar value. Amy asks if he has any musical instruments. Keyboards, perhaps? And I’m thinking to myself, that it would be a stretch. I see a few toy pianos. He brings out a melodica. Some harmonicas. “One more thing”, he tells us. He leads us to a corner in the back. Underneath a random assortment of figurines and statuettes is some kind of keyboard. It looks “vintage”, but it’s unclear what it is. I assume it’s some sort of air organ. He removes the statuettes and places it on a table. It looks cool, but what is it?

There’s no way to test it. I don’t see a connection for a power cord, and there’s some sort of weird banana jack for audio. Playing it, I can faintly hear tines being struck, so maybe it’s some sort of electric piano? I’m reluctant: “How can we possibly bring it back?”. But Amy is persistent. The owner says that he has bubble wrap. “But what about our sightseeing plans?” Amy says not to worry about it, we’ll find a box to bring it on the plane. She has Platinum Status on Delta, which allows for a free checked item. But one of this size?

Back at the hotel, Amy calls Delta. The representative says that they have a 50 pound maximum for checked baggage. Rut roh. Not discouraged, she does further research. On the Delta website, they allow 165 pounds for musical instruments. “Phew”.

OK, off on our mission to find a way to transport the piano. We decide that a gig bag would be better than a box, to make it clear that it’s an “instrument” that we are checking. Next, we need to find a music store in Prague that has a gig bag that’s big enough. On a Sunday. Not an easy task, but we find one just on the outskirts of the city. And then to a mall where we can buy more packing materials. Well, that’s how we spent our “sightseeing” Sunday! The keyboard fits in the gig bag, and we fill it out with our clothes for extra padding. It’s now Sunday evening, and I’m determined to find any information at all about this mysterious instrument.

I’m trying all sorts of Google searches. “Eastern European Electric Pianos”, “Czech Electric Pianos”. Maybe it’s from Russia? East Germany? Nothing is coming up, not even on the definitive Simon’s Hall of Electric Pianos. Further Googling leads me to a website devoted to Czech keyboards. Finally! It’s a Klaviphon. And, wow, there are a lot of other cool Czech keyboards that I knew nothing about. I learn that Plastic People of The Universe used this instrument! Cool! In an interview with the keyboardist, Pepa Janicek, it says that his instrument was “bruised by a dog”. Huh? Google Translate in action. Another article with better translation says that a dog chewed the wires. Oh, OK. Makes more sense. There’s a nice Klaviphon close up from a pro-communist TV show, The Thirty Cases Of Major Zeman. The band is a faux hippie rock band intended to be a parody of the “Plastic People”. In the show, they are drug addicts that hijack a plane. Apparently based on a true story. Except that the plane was not hijacked by heroin-addicted psychedelic rock musicians.



I get further sidetracked reading about the Resonet, possibly one of the first electric pianos, invented in Czechoslovakia by Ladislav Korner. He was sentenced to 18 years for treason for trying to sell his patent to Canada and Australia. The story has a happy ending, as he ended up emigrating to the U.S. where, among other things, he designed groundbreaking technology for submarines (and custom work for Jacques Cousteau). It’s a fascinating story. If you’re interested, you can read more about it here and here. Side note: In the early days of the Beatles, George Harrison played a Resonet Futurama.

The next day, at the airport, the gig bag is checked without a problem. Thank you, Delta! And thanks to our super packing job, it arrives in perfect shape. A few days later, at my studio in Brooklyn, there’s still no way to test this piano. I run into my friend, Mike Buffington on Manhattan Avenue in Greenpoint. And because he restores vintage theremins, he has a cable that could work for the Klaviphon. Testing it out, we hear nothing but a loud hum. I call Steve Masucci. Steve has rescued and restored vintage Ondiolines. If there’s anyone that can revive this instrument, it’s Steve. He tells me that he’ll figure out a way to get it working. While working on the instrument, he finds all sorts of random parts, including sewing machine pins. I guess they didn’t have a lot to work with in the Eastern Bloc in the 60s. A few weeks later, Steve returns the Klaviphon to the studio. We plug it in, and it actually works! The sound? It’s a bit noisy, and it’s not going to replace a Rhodes or a Wurlitzer, but it sounds pretty cool. And it’s certainly a conversation piece. I’ll be so ready for the Plastic People Of The Universe tribute. Here’s a short improvisation using an Electro Harmonix 16 Second Delay.

Obtruta MK1 Steampunk Synth with Crystal LEDs

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via this auction
video at the auction and previously posted here.

"Obtruta stands for: One Button To Rule Them All.
This device is an analogue synthesizer and sound machine with simplified controls, however the complexity of the sounds it can synthesize still remain vast.
It is constructed from old and recycled parts- oak, mahogany, copper, brass, glass and bakelite.

The sound synthesis circuitry is of my own design, the modules it consist of are:
Two VCOs
Two Envelope generators (AHR and AR / Attack-Hold-Release and Attack-Release)
VCF (low pass with resonance and super-overload-resonance)
Modulator / Weird LFO
Internal signal heterodyner
Light sensor control voltage (CV) level controls

Explanation of operation:

The knife switch is the main power switch. When the button is pressed it activates both the envelopes and the modulator. One envelope controls both the VCOs and the second envelope controls the VCF, the far left switch mixes the modulator with either the VCO envelope or the VCF envelope control voltage. The modulator only cycles when the button is pressed and the frequency of VCO2 is lower than VCO1. Additionally the modulator speed is controlled by the frequency of the two VCOs so strange feedback loops happen when it is directed back to the VCOs.
The level of control voltage applied to the VCOs and VCF is controlled by the light sensors; The center light sensor is for VCO2, VCO1 via the left sensor and the VCF via the right sensor.

The center switch and right switch change the envelope shapes between HR and AHR, the two dials on the front control both attack and release time for each envelope.
The round dial with an arrow controls the filter resonance and can also be driven into super-overload-resonance when turned beyond the half way point.
The meter indicates the modulator level and frequency, the glowing crystals and glass tube show the control voltage level of both the envelopes and modulator, depending to which module it is directed.

Lights can be used as control elements for the light sensors however be aware that they can introduce mains hum through the very light beam itself if they are powered by AC mains electricity! This means that you could modulate the VCF or VCO at audio frequencies using a light source controlled by an audio signal. Modulation by using flashy lights has not yet been explored, I implore you to experiment! The sonic possibilities are vast and unknown!

The output socket can be found behind the small door in the back of the device, closed by a copper latch. The socket is a little bit stiff but I have had no problems using it, it accepts a mono quarter inch jack plug."

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KURZWEIL PC3LE6 Performance Controller

KURZWEIL PC3LE6
"PC3LE6 Overview
The Best Sounds, The Best Features, The Right Price
First Things First...

Fantastic sounds, reliable performance, musical expressiveness, ease of use; these are the things we believe are essential to the design of an affordable keyboard instrument. Kurzweil's new PC3LE6 combines the amazing sound quality and performance control features of our enormously successful PC3 with a new streamlined, intelligent user interface, providing an interactive experience that is bound to inspire creativity.
It's The Sound...

Under the hood, the PC3LE features the same groundbreaking chip technology that has made the PC3 the most talked about keyboard in recent years. All of the PC3's sounds are included - the famous Kurzweil grand piano, vintage electric pianos, Clavinets and Mellotrons, dazzling Orchestral and Strings collections, stunning VA virtual analog synths, KB3 organs, realistic basses, drums, guitars, percussion and horns, General MIDI, plus nearly 200 new programs developed specifically for the LE; over 1050 programs in all. We've improved the method for navigating through such a massive sound set; programs in the LE can be viewed and selected with a new set of Category buttons. Select "Leads" and you'll see a list of all the synth leads in the machine, grouped together. Same goes for the other 20 categories, everything from Synth Bass to Mallets to Guitars.

These programs take advantage of our V.A.S.T. synthesis engine, using pristine samples paired with detailed programming of literally hundreds of synth and effects parameters. Whether it's the rosin of a bowed string instrument, the resonant harmonics of a piano's damper pedal, or the thumps and squeaks of an electromechanical keyboard, we've done our homework and provided a level of detail and realism that can only be found in a Kurzweil. Which means you can focus on the important business of making music.

The PC3LE6 comes equipped with over 700 onboard effects chains from which to choose, all with real-time controllers already assigned to relevant parameters. With world class reverbs that decay into complete silence, warm, classic sounding phasers, flangers and choruses, and burning, saturated distortions, you'll have everything you need to make your music sound like a polished, finished product from the outset. The PC3LE6's architecture provides up to 10 insert effects, which can be distributed among 10 channels, with an available auxiliary effect as well.
Interactive...

In the PC3, we introduced the "INFO" feature, a soft button-press that allows the user to see which controllers have been assigned to parameters within a program. For the LE, we've taken this to the next level, with an interactive user interface that communicates directly with you whenever you move a real-time controller. Turn a knob, hit a button or move a wheel and the LE's screen will display the controller, its real-time value and the parameter being affected. An example would be moving the modwheel on an organ program - you would see the following: "Modwheel 79 Distortion Drive". This system never breaks down - you can change effect chains freely and all of this info remains intact, updated to reflect the new chain you've selected. Also, this info is transferred seamlessly to Setup Mode - you can see whatever controllers have been assigned to programs used in any zone of a setup.
Customizing Your Sound...

We wanted to give users the quickest, easiest possible way to adjust the PC3LE6's sounds to suit individual tastes and needs. In any given program or effects chain, the relevant parameters, the ones that you'd want to tweak and adjust, have been assigned real-time controllers. Move a controller and hit the SAVE button - no menus, no pages with endless parameters - and you get one touch sound customization. Also, we understand that flexibility is important when it comes to customizing your sound. Don't want filter frequency control on a knob? Prefer to have it assigned to the modwheel? No problem. The PARAMETERS page allows you to re-assign any controller to any available parameter. You can save your custom sounds to the user bank, with over 1000 ID slots.
A Different Drummer...

With the PC3LE6, we're introducing a new set of dynamic physical controllers - 8 backlit, velocity-sensitive drum pads that can be used to trigger sounds, sequences, chords and arpeggiations. Every program in the machine has a drum kit assigned to the pads, so you'll always have access to a rhythm track when you need it. As a bonus, we've included a set of over 100 new drum programs, with acoustic brush kits, slammin' rock kits and a number of heavily effected techno/electronic kits, in addition to the 24 existing kits from the PC3. Just as we put a great deal of effort into making sure that our keyboard action feels just right, the drum pads were implemented with precision and care, with utmost attention given to how they feel when played. After all, this is a musical instrument and not just a piece of technology.
Everything Else You'd Expect...

Complimenting the LE's new features are a few old familiar Kurzweil favorites; Setup Mode, Quick Access Mode and Song Mode, all taken directly from the PC3.

Setup Mode enables the LE to act as a powerful MIDI controller as well as providing 16 simultaneous, independent, fully programmable arpeggiators, with factory and user-programmable patterns. On top of that, each setup can have up to 16 simultaneous Riffs - sequences that can be triggered by buttons, drum pads or notes on the keyboard. While Setup Mode, with up to 16 zones each with its own program, is still as powerful as ever, we've added a Split/Layer button to make the creation of simple setups quick and easy.

Quick Access Mode allows you to create custom banks of 10 sounds that can be accessed by a single button-press. And Song Mode delivers a full-featured 16 track sequencer with all of the powerful editing features that you'd find in a high end workstation - event editing, swing, controller scaling, input quantize, input filter, and chasing controls. User memory provides over 1000 ID slots each for your own QA banks, Setups and Songs.
Connectivity...

Saving, loading and updating the OS are all made easy on the LE with the inclusion of both USB Host and Device ports. You can save your user programs, setups and songs to a USB thumb-drive or directly to a computer. OS updates can be loaded from a thumb-drive or directly from your computer, and of course the LE sends and receives MIDI over USB. Standard MIDI jacks are also included for In, Out and Thru. For audio, the PC3LE6 features high-quality, hum-cancelling, stereo balanced analog outputs, with 24-bit DACs as well as a 24-bit stereo S/PDIF digital output at 48K.

Suggested Retail Price: $1495
Available: Dec. 2009"

DK Synergy II+ Synthesizer with Kaypro II PC SN 01272

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via this auction

"The listing is for a Digital Keyboards Synergy II+ synthesizer with Kaypro II PC in great condition! One of the first premium digital synthesizers manufactured in the US , The synth is based on Dr. Hal Alles from Bell Labs synthesizer architecture.This model is the programmable version and has the solid wood casing which only came out with the very early serial numbers. The wood was replaced by tolex to reduce cost in following years. Approx 700 total Synergy units were made of which about 300 were said to be the upgraded programmable version.It is estimated that only 100 or so units are still operational today of which about 20% are the higher end wooden case version. When the Synergy II + hit the market in the early 80s, they were going for upwards of $10K for the wooden programmable version with Kaypro PC. The DX7 came out with their FM synthesis in 83 for $2500 and changed the entire synth industry. After that DK was dumping their units for under $7K with Kaypro and eventually went under in 1985. I payed $5,450 (including shipping) for this unit 8 months ago so for a 30 year old rare synth , it is still holding it's value.

The Synergy II+ 's Kaypro II PC is in great shape as well with two functional drives and the 1980s style green light screen resolution is still very prominent. You can find Kaypro PCs for sale on eBay should you ever need a back up. The sale includes everything you see in the photos- Synergy synth, Kaypro PC and keyboard, null modem cable to RS232 port ,original operational manual for the synth( not a copy), instructions for understanding the Kaypro and the complete Synergy library.The library includes close to 500 patches. It includes the L1-L13 FDs, VCART1-VCART6 FDs and Wendy Carlos Library( WENDY 1-WENDY3 FDs). All library, diagnostic, software systems and boot disks have been backed up with multiple copies, anywhere between 4-6 sets of each. The sale also includes a 2 hour video made by the original owner who purchased this synth as a floor model in 1983. The video on DVD is well thought out as well as his written start up instructions to get a new owner going. You definitely want to review the video and documents to understand the nuances using the synth and PC software . Included are the original documents listing the names and categories of the library disks and patches/voices in alphabetical order and by instrument or sound type. Other documents include synth schematics, pin schematics if you want to make your own null modem cables and addendum released by DK.

This synthesizer is definitely not for the touring musician or quick knob turning gratification player. This synth is typically purchased as a collectors piece or a programmers synth who enjoys sound sculpting for personal pleasure or studio recording. This synth has unique architecture and very sophisticated envelope control . What makes the Synergy II+ unique even to this day is that you voice each oscillator twice for both frequency and amplitude and you have 16 different envelope points for each envelope. So you get to control how each voice changes in response to velocity. For example, you might choose to have a phase modulated envelope that rises very sharply at low velocities and dies off fast, but at high velocity(loud notes) it rises less sharply and dies off much more slowly. Or you could do the opposite with the carrier envelope scheme which means the loudness envelope of the timbre operates normally with a sharper attack the harder you press the key but a shorter decay at louder amplitudes. Since you can define two 16 point frequency envelopes for each oscillator and you are dealing with phase modulation, you can have sound going from strictly harmonic overtones to inharmonic partials and back again over time or set it up to go inharmonic to harmonic and back again. And this effect is with just two oscillators. Typical Synergy II+ patches use 3-6 oscillators so you can also detune them to get chorus effects. Another reason to set up multiple chains of oscillators for a patch is to have different sets of overtones moving in and out of harmony against one another which gives you very complex timbral effects like you would get with real instruments. Another reason to use multiple oscillators is so you can combine additive synthesis with phase modulation to create some very realistic percussive sounds like bells or chimes using subharmonics of the fundamental of a note to create that low hum that is not harmonically related to the timbre ,but present in real percussive instruments.There is a reason that Wendy Carlos still has two Synergy GDS units among her gear of only 5 remaining keyboards.

For those not familiar with the Synergy, there is a good website if you Google DIgital Keyboards Synergy Preservation Page.Also there are several YouTube videos on this unit. However, here are the basics:

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Wavemakers - Documentary on the Ondes Martenot

"Wavemakers pursues the legacy of an electronic musical instrument as fragile as it is magical: the Ondes Martenot. The Martenot so sensitive, so expressive, that nearly a century after its invention, musicians, artisans and scientists are still trying to unravel its secrets. Among them are the inventor’s son, Jean-Louis Martenot, Suzanne Binet-Audet, the 'Jimi Hendrix of the Martenot', and Jonny Greenwood of Radiohead.

Integrating vérité, never-before-seen archival material and an entrancing soundtrack, this feature documentary explores the origins and workings of the Martenot, and draws us inexorably into its spell. A modern-day story set against a historical background, Wavemakers is a journey into the very heart of the mystery of music.

With Wavemakers, Caroline Martel returns with the signature approach that turned her first feature doc about telephone operators into a 'non-stop visual and intellectual stimulation… an enormously creative documentary.' (Variety). She pursues her fascination with culture and technology, using her distinctive blend of humanism, lyricism and experimentation."

via http://artifactproductions.ca/lechantdesondes/wavemakers-the-film/?lang=en

"A CHORAL FILM ON THE MYSTERY OF AN INSTRUMENT

Maurice Martenot dreamed of sound springing from silence. Amid the chaos of the Great War, the young French wireless telegraph operator became enthralled by the unusual interference produced by his radio’s vacuum tubes. He envisioned of an instrument that would turn the raw material of electricity into music, while allowing for the complete control of the performer: the Ondes musicales Martenot. Inspired by an ideal of human and live artistic expression, his electronic instrument is of such extraordinary sensitivity that nearly a century after its invention, musicians, artisans and scientists are still trying to unravel its secrets.

With an extremely wide spectrum of timbres able to evoke sounds ranging from the human voice to wind instruments, to the hum of a machine, the Martenot’s expressive capabilities are unequalled by any other electronic instrument. But what became of it? Since its introduction at the Paris Opera in 1928, it has been widely used in both classical and popular repertoires. From the first sound films of Abel Gance and Fritz Lang, to Hollywood classics, science-fiction TV series, and recent productions such as There Will Be Blood, the Martenot has also lent a distinctive colour to the music of Olivier Messiaen, Tristan Murail, Édith Piaf and Radiohead. Yet, while it has been part of the collective unconscious of entire generations, it is practically invisible today. After the accidental death of Maurice Martenot in 1980, the Martenot workshop gradually ceased production, leaving the instrument’s future up in the air. Of the 281 Martenots that were built, only about 70 remain, and the instrument is now threatened with extinction.

With its modern-day plot set against a historical background, Wavemakers pursues the uncompleted dream of the visionary man that was Maurice Martenot (1898–1980). This feature documentary follows an ensemble of Martenot aficionados, in France and Quebec, who search through studios, basements, science labs, and workshops to unravel the secrets of the instrument. Among them is Jean-Louis Martenot, striving to keep his father’s musical and pedagogical legacy alive. Suzanne Binet-Audet, the “Jimi Hendrix of the Martenot,” who meets backstage with Jonny Greenwood. A well-known member of the band Radiohead, Greenwood is a multi-instrumentalist and composer leading a new generation of musicians who are rediscovering the Martenot. Jeanloup Dierstein, an electronic instrument maker in Paris’ 17th arrondissement, is working on a new Martenot prototype, and, like its inventor, “dreams of it day and night.” Dierstein allows us to be the timely witnesses of the rebirth of one of the 20th century’s major musical innovations."

Unique 1970’s Analogue Synthesizer

via this auction
"It consists of two (19” rack mounting) units (each 3u). I’ll call one the ‘Amp/PSU’ and the other the ‘Synth’

The ‘Amp/PSU’…
Is constructed from tinned steel and aluminium and contains (enclosed) two power transformers (manufactured by GARDNERS – type GR26723 quite large and heavy) and two 20W power amps (Toshiba Power Pack TH9013P - The manufacture dates and availability of the power amps suggest the whole synth was constructed in the mid seventies). There is a mixer/patchbay, a signal preamp (with gain and volume – cw rotation of gain REDUCES the signal), a divide down circuit (?) and a Power (on/off) section which also supplies the power (via a lead) to…

The ‘Synth’…
Two Voltage Controlled Oscillators (VCO) with Low/High switch (can be used as LFO). Square and Triangle outputs.

Ring Mod.

Noise.

Two Voltage Controlled Filters (VCF), one Low Pass and one High Pass.

A ¼” ‘Patchbay’ with ins and outs for the above sections.

An Envelope Generator (EG). The audio signal is fed through it, so I’m assuming there is some form of VCA within the EG. There is also a TRAP out with a level control (I’m assuming TRAP is short for ‘Trapezium’) which can be used as a control voltage.

All of the circuit boards and wiring of the ‘Synth’ are exposed on the back of the 3u panel (not in an enclosure).

*It Works..!
This is a very old (early?) synthesizer, hand built back in the 70’s, so although it 'works', it will need care and attention from its new owner to get the best from it. Some of the pots are ‘crackly’ as well as some of the jack sockets. Eleven of the eighteen (silver) knob caps are missing. There are signals ('square' & 'triangle') from both oscillators and they both switch between high and low. The noise output also works. The Ring Mod appears to work. The filters appear to work (both LP and HP). The output and input jacks (in the colour coded panels on the ‘Synth’) work (some ‘crackling’). The Envelope section works, both in ‘Cycle’ mode (which appears to be a repeating trigger whose time is set by the ‘Rate’ pot) and in ‘Man’ (Manual, triggered by the red push button which is intermittent – needs cleaning?) The inputs and outputs from the Mixer appear to work (some ‘crackling’) and the pre-amp appears to work (with the rather ‘odd’ gain control that reduces the signal when turned clockwise). There’s an amplified signal from both of the power amp outputs. I’m not sure what the ‘panel’ to the left of the ‘Mixers’ does. I assumed that a signal fed to the in socket would appear divided at the (divide by 2, 4 and 8) jacks, but I couldn’t hear anything, so perhaps this part is faulty? Power is via a standard ‘mains’ plug. The ‘Power’ switch works and the neon power light works. I’m assuming the two ‘din’ power (D.C.?) sockets work as the ‘Synth’ plugs into one of them and seems to power-up ok. When powered up there is a ‘hum’ which seems to be ‘mechanical’ and probably from the two Gardner power transformers (could be as simple as loose mounting). It needs a good clean."