Happy New Year! The Year in Synths 2013

Happy New Year Everyone!

What a busy year it has been in the world of synths.

This is going to be one doozy of a post, so bear with me. This post is a review of the year in synths for 2013. We begin with Tributes to Those We Lost This Year, followed by New Manufacturers & Makers, Older Manufacturers Added to the Site, New Gear Announcements, Top 10 Posts by Traffic,  My Standout Posts for the Year, and finally This Years' Synth Events. I did my best to keep things as short and concise as possible.

Let's begin with the hardest part of the post.

Tributes to Those We Lost This Year

RIP Bernard Parmegiani - Electronic & Acoustic Composer
Lou Reed RIP
RIP Dick Raaymakers aka Kid Baltan
RIP George Duke - DreamWeaver
RIP Ralph Dyck, Sept 28, 1941 – May 20, 2013
RIP Ray Manzarek

All missed and never to be forgotten. Take a moment to remember them.

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New Manufacturers & Makers

Starting last January, I decided to keep a running list of every new manufacturer and maker introduced to the site during the year.  This is something I haven't done before and I thought it would be interesting to see how many there were in the year.   It's easy to focus on the big synth announcements throughout the year, but what about all the new makers and brands? I shouln't have to go considerably into the significance of new designers on the scene, so I'll just say two things regarding them.  One, the number of new makers is a direct reflection on the interest in our scene, and two, these are the creators of new gear which directly translate into new designs not previously available to us.  Think about that for a moment.  These are makers and designs that did not exist before.  They are part of our synth history.  So what is the total count of new synth designers for the year? A whopping 113. Think about that a bit. One hundred and thirteen new synth designers and brands this year alone.

Here they are (note a handful date back to 2012, but 2013 marked their momentum and availability):

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Happy New Year!

Happy New Year everyone!!!  I hope 2012 treated you well and I wish you the best in 2013!

As I do each year, I thought I'd reflect a little on the past year.  These posts are always difficult to write, and I always wing them, so bear with me.  It's impossible to justify a whole year's worth of synth coverage in a single post.  The following is just a small bit of what comes to mind when looking back.  You'll find a top ten list of posts with the most page views followed by my picks for the year further below.  Apologies if I miss anything, and of course, if you have anything to add, feel free to leave a comment below.  I'm curious what you, the readers of the site, felt stood out in the world of synths this past year.

First, I want to begin this post with a HUGE THANK YOU!!!  If you are reading this it obviously means you have come to this site and some of you have been coming here for years! Thank you for sticking with me. This site is a journey I hope to continue for years to come. Thank you to everyone that has taken the time to showcase their synths, and thank you to those that share what they find! Thank you to those that link to the site and help spread the word on MATRIXSYNTH via Twitter, Facebook, Google+ and your own websites! And of course, THANK YOU to all the sponsors on the right who believe in the site enough to support it!

A nod to previous New Years posts, pictured to the left is the MATRIXSYNTH world domination map. :)  I always think it's worth taking a look at who's watching the site.  Synths are global and you are looking at a map of the readers of MATRIXSYNTH.  Everything you see in green represents a visit from that country.  The darker the green, the higher the number of visits.  This is just for the year, but for the life of the site, we still haven't gotten a single hit from North Korea!   I don't know what they have against synths!  ;)   You'll find the top 10 visits by country further below.

This is the eighth New Year the site has gone through!  The focus for the site this year has been the same as previous years, and I plan to keep it that way.  This site is about showcasing specific synths, not just synths in general, and not just news and press releases.  The focus is on the individual synths that have existed throughout history, the technology behind them, and the lives they lead with their odd owners, myself included.  :)  Yes it is about the gear, their makers, and their players.  It has always been my opinion that synths in general have a tendency to be undervalued. Compared to say collectible guitars, they are often discarded and devalued in favor of next year's model, next year's technology.  It has always been my opinion that every synth has something of value to offer,  something specific and something unique that gives it its character. I built this site to showcase that.  This site is about the history of synths as their history unfolds - videos and images of synths being played and used, by both those that make them and those that play them.  Vintage synths being offered in the second hand market, being exchanged from one sonic explorer to the next. It really is a wondrous thing. Think of the magic synthesizers bring into your world. That is what this site is ultimately about.  Some posts may not seem to make sense now, but they will in time, because they will be a look back in time. A day in the life of a particular synthesizer.  I love analog and I love digital. I love all synths and this site celebrates that.

And now for a little reflection on the year. This year we had a total of 16678 posts including this one.  That comes out to roughly 45.69 posts a day.  Not a single day of the year went without a post.  So what dominated the synth year?  Mobile, modulars and a few dedicated hardware synths.

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Behringer UB-Xa - - Milestone - - by "The Synth King"

video upload by The Synth King

"This video showcases a complete song I´ve composed and produced with sounds exclusively from the Behringer UB-Xa (except drums). The opening bass line was made with the built in step sequencer running in sync to the DAW. I've used a single reverb and two delay plugins for this track. There is no EQing or dynamic processing involved. All sounds were recorded directly into the audiointerface."

Update via Behringer:

"As we’re getting ready for the production of the long awaited UB-Xa, we’d like to share a beautifully crafted video of the Synth King.

It demonstrates that this amazing synth is not only capable of capturing the legacy sounds of the ‘80s but also deliver modern sounds and timbres.

The UB-Xa is one of our most complex products we have ever designed in our 35 years of history. 15 engineers worked over 4 years, delivering 8 hardware revisions and countless firmware upgrades, while co-innovating with 20 beta testers who all own the original OB-Xa synth. Our objective was to spend as much time and resources it takes and only release it when it is perfect. The UB-Xa is now completed and we’re ramping up for production. As Uli stated from the beginning, this synth was never meant as a commercially driven product, but rather a labor of love. In fact, it might never make us any money and that’s OK. For that reason, we plan to offer if at the lowest possible price and at a fraction of competitive products.

We’re sorry this has taken so long but we now have a synth jewel we’re very proud of and a fantastic platform that will allow us to deliver new poly synths at a much shorter time. We’d like to thank all the beta testers who spent years and countless hours to help us bring the UB-Xa to life.

And finally, we’d like to thank all of you for your support and patience. You’re the reason why we love what we do."

RIP Michael Jackson

As you've all probably heard by now, the King of Pop has passed away. I wasn't expecting to put a post up as all posts have to be about the synths, however it just didn't seem right to not put something up, and I did find a bit of fascinating synth history, when you think about it, below.

I remember growing up listening to bits of the Jackson Five and later Michael Jackson. My sister was in love with his music, and Elvis Presley. The perfect match. I remember when Elvis was the King of Rock and Roll and Michael announced himself as the King of Pop. I wondered if it would stick. I remember when Off the Wall came out followed by Thriller. I remember staying up to watch the Thriller video with my sister, and her telling me how it was the most expensive video ever made. I thought it was crazy how long it would be. I recently remember watching that odd video of inmates somewhere in Asia performing Thriller, a hundred plus inmates in orange, prison garbs, all in sync. All crazy memories in time, all full of life and energy. That is the one thing Michael Jackson was to me - a man filled with wonder and energy. I will always remember him as that somewhat magical character who never lost that bit of childhood wonder. I'm sure he has influenced me in ways I have yet to realize, some bits I'm coming to realize just typing this. Pretty crazy... pretty amazing... I hope he is well wherever he is. He did bring wonder to life.

As for the interesting bit of synth history and the image from Thriller. The following is a list of the synths used and the players (via micke in this VSE thread). It is an interesting look at what synths were used on THE best selling album of all time. RIP Michael. RIP The King of Pop. It definitely stuck.


"Here's a rundown of the all (?) the synths used in the making of Thriller

Yamaha CS-80
Roland Jupiter 8 (x3)
NED Synclavier II
DK Synergy
Roland Jupiter 4
Roland MC-4 microcomposer/sequencer
Yamaha GS-1 FM synth
Oberheim Four-Voice
SCI Prophet 5 (x2)
Yamaha CE20 FM preset synth
Yamaha portasound keyboard
Roland VP-330 vocoder/strings
Bode Vocoder
E-mu Emulator I
plus a couple of Minimoogs

Linn LM-1 (mostly doubled with a TR-808)
Linndrum (LM-2)

And here's a listing of the keyboardists/synthesists performing on the album:

Greg Phillinganes
Michael Boddicker (Mr. Jackson's main synth-programmer)
Steve Porcaro & David Paich
Bill Wolfer
Brian Banks & Anthony Marinelli
David Foster
Greg Smith
Tom Bahler
James Ingram"

On another non music related note, we also lost Farah Fawcett today. Sad day today.

Update via VICMOD: "And Andy huges of The Orb passed away, thats got to be synth related" Indeed.

"Andy Hughes, (born 11th November 1965 - died 12th June 2009), was an English electronic music producer from Harrow, Middlesex [1]. He is most known for his work with The Orb, where he helped mix and produce Orbus Terrarum, Orblivion, and Cydonia, as well as The Orb's singles from this period. Hughes left The Orb during the production of Cydonia, which was reworked after his departure. He also did some additional original production work and performed remixes for The Cranberries and Tangerine Dream.

Hughes died at the Liver Intensive Care Unit at Kings College Hospital in London after a short illness on June 12, 2009." via Wikipedia. And Ed McMahon. And Sky Saxon of The Seeds.

Update: Michael Jackson and the Electronium

via the Raymond Scott blog:
"In August of 1970, Motown Records founder Berry Gordy read an article in Variety magazine about Raymond Scott and his Electronium. Along with The Beatles and The Beach Boys, Motown virtually controlled the 1960s pop charts with stars like Stevie Wonder, Marvin Gaye, and Diana Ross & The Supremes. And with THE JACKSON 5 as his latest smash supergroup, Gordy was at the height of his influence. ...

Hoby Cook was a technician at Motown’s MoWest facility who tested Scott’s Electronium extensively. 'I wanted some reactions, so as an experiment, I’d open the door and turn the volume up — loud.' Cook’s technique worked. Motown personnel heard the curious sounds and wandered in. “Cal Harris did a lot of recording with it, and MICHAEL JACKSON was fascinated,' Cook recalled. 'He was just this kid sitting there, staring at the flashing lights. He said he wanted THE JACKSON 5 to use the Electronium somehow.'"

Roland GR-100

via this auction

"The Roland GR100 was developed as a system to electronically process sounds with the string vibrations themselves being the sound source. This was Rolands first guitar synth made in the 1970's and is now a collectors item.

HEXA distortion circuit makes it possible to get clean distortion which could not be experienced by electric guitar. The GR-100 is equipped with the HEXA Dis tortion circuit which can distort the string vibrations that are divided into six sound sources by the Divided Pickup. The sound distorted by the HEXA Distortion is clean, deep, and powerful, with a rich sustained sound and beautiful harmony could not be obtained by a regular distortion or over-drive device.

HEXA Filter, cutoff frequency, and resonance for powerful filtering effects Each sound source from the string passes through the HEXA Filter circuit of the GR-100 as well as the HEXA Distortion. HEXA Filter is preadjusted in accordance with the guitar tuning (E, B, D, A, G), low for the lower notes and high for the higher notes. Therefore, unlike using the graphic equalizer or the parametric equalizer, it is possible to balance the string sounds and create a versatile selection of sounds, from soft to hard, using the Cutoff Frequency and Resonance.

GR-100 is equipped with three effect controls, and one of them is the Filter Modulation. It enables you to add a "wow" effect onto the electronic sounds regardless of Cutoff Frequency or Resonance, and controls the picking power (stress) with the SENS control and the depth of the "wow" effect with the PEAK control.

The second effect control on the GR-100 is Vibrato. By turning the Touch Vibrato switch ON and OFF, a powerful vibrato effect quite different from a manual vibrato can be obtained. The third effect control is Stereo Chorus which deepens and broadens the sound.

As the electric guitar amplifiers are made for electric guitars, they are designed to raise and emphasize the higher range, resulting in a thin sound when recorded directly out from line. GR-100 has a wide range and shows outstanding performance without losing the true nature of the guitar sound, making it suitable even for studio work."

Toccata in D minor (Bach)-Ketil Strand-Roland GR-100/G-505 electric guitar

"This is a follow-up to my previous Toccata version played on my Axon AX100 guitar synth.
Some of the commenters on the Toccata video asked me to do a guitar version without the synth organ sound, so here it is. Instead I'm using a pretty rare device this time; the Roland GR-100 Electronic Guitar, which is a "hexaphonic fuzz" unit that is controlled from my Roland G-505 "synth controller" guitar. It creates a soft "fuzz"-type overdrive, but it's hexaphonic, so you can play any chord and hear all the notes clearly, unlike a regular fuzz/overdrive pedal. This was one of Roland's early GR series of "guitar synth" units that came out in the early 80's I think (pre-midi), but unlike the other Roland GR products this isn't really a synth, it's more like 6 fuzz pedals in one.. It's a fully analog guitar signal, but it uses the guitar's built-in hexaphonic pickup instead of the regular pickups. The GR-100 unit also has built-in Filter, Vibrato and Chorus effects, but I'm not using these here. The "hex. fuzz"is controlled from the Roland G-505 guitar's built-in controls and switches.
Although the built-in hex. pickup on my Roland guitar basically is the same type as Roland's current GK pickups, it's not compatible with current guitar synths because of the different type of connectors. The Roland G-505 uses a large 24-pin connector that was discontinued years ago, but today Roland and Axon synth guitar systems uses a much more convenient 13-pin connector. So that's why I also have an additional Roland GK-3 pickup mounted on my Roland guitar.
Other pedals used: Ibanez Tube King pedal with gain on "0" just to warm up the sound a bit, an Electro-Harmonix Micro POG adding both an octave up and an octave down, Exar Compressor, Boss RV-5 reverb, Boss DD-6 Dig.Delay, Boss PS-5 Super Shifter and a Palmer "The Junction" DI Box.

www.ketilstrand.com
mp3 version: www.geocities.com/ketilstrand/lydklipp"

Update via Joe S. in the comments: "I have one of these. On my quest for a G-808/GR-300 setup, I stumbled across a G-505 and a GR-100 for sale. I thought at first that I might sell this setup when I found a 808/300; however, I can say now that will not be the case - as I enjoy the GR-100 a great deal!

The 300 apparently uses the hex fuzz circuit that is built into the guitar controller, but the 100 actually has provides its own hex fuzz circuit, which has a different voice - more "saturated" sounding IMO. The sustain mode is also unique to this unit (engaged using the toggle on the guitar). That, combined with the -12db/octave filtering (GR-300 has -24db/oct), inverted envelope mode, and the vibrato can really produce some interesting "synth-like" sounds, as well as that wonderful distortion tone heard in the seller's great demo video.

You can head my GR-100 setup in this track:

http://www.hillscloud.com/music/Passage-to-Infinity.mp3

I'm playing it with a G-505, and it comes in doubling the Multimoog melody. It can also be heard in the bridge section with the chorus engaged (and phasing from a frequency shifter), and you can head a bit of the vibrato kick in just before the solo section.

Sorry I don't have anything yet with it more "up-front" in the mix, or featuring a more aggressive sound - but this might give you an idea of the subtle synthetic nature it is capable of. The sounds can get much more dramatic by opening up the filters and experimenting with the envelope sensitivity.

Overall a very fun little box, and great addition to an old 24-pin setup!!"

King Korg Analog Modeling Synth Now In Stores

"MELVILLE, NY, May 1, 2013 - Korg USA announces the availability of the King Korg analog modeling synth. Focused on live performance, it features Korg's new XMT (Xpanded Modeling Technology) engine, with a wide array of oscillators and filters that can accurately model sought-after vintage analog synths. With its controls laid out in easily identifiable sections, King Korg delivers the unique characteristics of a dedicated synthesizer, while remaining approachable to players who are new to synthesizers

A 3-oscillator, 2-timbre design allows players to generate thick and rich sounds. In addition to essential waveform choices such as sawtooth, square, sine, triangle, and noise, King Korg provides pre-set algorithms that contain various combinations of oscillator numbers and types, for easily and quickly sculpting stage-ready sounds. The oscillator algorithms also include numerous PCM/DWGS algorithms for creating highly personal sounds.

The filter section is crucial to a synthesizer's character, and King Korg's filters add unparalleled flexibility. In addition to a variety of essential analog modeling filter types, there are faithful filter models from analog monophonic synths that were used for lead and bass sounds in the '70s, as well as the polyphonic synths used in new wave music of the '80s, plus the filters of Korg's classic MS-20 analog synth. These filters can also be made to self-oscillate by raising the resonance setting- a unique capability of analog synthesizers.

A selection of 200 stage-ready preset programs includes many familiar and authentic sounds for playing classic and modern songs, plus fresh, inspiring sounds for new musical creations. An assortment of live performance staple sounds includes PCM-based piano, electric piano, organ, and clavinet. Users can store their own creations in 100 onboard user sound locations.

Each of three master effect sections offers a choice of six effect types: PRE FX such as distortion and amp simulator; MOD FX, including phaser, chorus, and tremolo; and REV/DELAY such as hall reverb and modulation delay. A full-analog vacuum tube driver circuit is also included as a mastering effect. It can be used to add warm fullness, a powerful overdrive, or anything in between. In addition, a built-in, full-featured vocoder uses audio from the onboard mic input to create a talking effect.

Many classic synthesizers used patch cables to physically reconfigure the signal flow. King Korg's intuitive Virtual Patch system reproduces this function. With six Virtual Patch assignments per timbre, control signals such as EG, LFO, or joystick movement can be virtually connected to sound parameters such as pitch or cutoff, allowing users to modulate a parameter for even greater sound-shaping possibilities.

King Korg's design makes it easy to create and modify sounds. The oscillator section has its own dedicated display, and the control knobs are assigned to the most important parameters for each oscillator. There are also dedicated dials for each of the three master effects, making it easy to audition different effects to hear how they modify the sound. Self-luminous organic EL displays are used for excellent visibility, even on a dimly lit stage.

King Korg features five octaves of velocity-sensitive keys, with adjustable response (Normal, Shallow, or Deep) to mimic that of classic instruments. Below the dedicated octave shift buttons, a backlit X/Y joystick is ready to control important live performance tweaks.

A CV/GATE OUT jack enables players to use an analog signal to control a KORG monotribe or MS-20. A dedicated cable is included to use the keyboard of King Korg to play the monotribe.

The King Korg is available for a U.S. Street price of $1299. Additional product information and sound demos are available at Korg.com."

King Korgs on eBay

King Korg Demos by synthartist69

Published on Mar 19, 2013 synthartist69·1,093 videos

Playlist:

King Korg "Stab King" 80's Synthesizer Riff - The new King Korg. This is the first patch I have checked out so I immediately made this video. So far so good, but I think I can improve this Jump sound :)

King Korg "1984" 80's Riffs part 2 - This is the 2nd patch on the new King Korg synthesizer called 1984. In this video I am tweaking the effects including the chorus and delay section. I also add the tube amp during the video. So far, I am very pleased with the layout of the effects section. It is really nice to be able to immediately dial in the effect that you need without having to scroll through page after page! Way to go Korg!

King Korg "French Toast" factory patch #4 - Here is a demo of patch #4 "French Toast" on the new King Korg. I find this a very usable sound for my style of music. In this video I start with the factory preset and then tweak the effects. Very cool sound!

King Korg "Polyways" Factory patch #11
King Korg "Crowley Split" Factory Patch #8
King Korg "Night Ranger" Factory Patch #9
King Korg "OBXa" 80's Jam part 1
King Korg "Porta Moog"
King Korg "Arpeggiator Play"
King Korg "Groove Bass"
King Korg "Secret Weapon"
King Korg "This is Fat!
King Korg "Uni Square Lead" Edited
King Korg "30SC Mini" factory preset patch
King Korg "Unison Sync Lead"
King Korg "Big 80's" Custom Patch
King Korg "Fooling Yourself" Styx Intro and Solo
King Korg "Big 80's" Custom 80's Synthesizer Patch
King Korg "Unison Sync Lead"
King Korg "OBXa" Jumpacab
King Korg "Sweeping 5ths" Custom Synth Patch

NAMM 2013: Introducing the Korg KingKORG Synthesizer! Video

Published on Jan 24, 2013 KorgUSAVideos·321 videos

"Korg's new KingKORG modeling synthesizer delivers the sound and excitement of vintage analog synthesis, with next-generation power and flexibility that could only come from Korg. It's optimized for live performance, and its easy, knob-driven interface also makes deep sound creation a breeze. Learn more at http://www.korg.com/kingkorg.

Like Us - https://www.facebook.com/KORGusa
Follow Us - https://www.twitter.com/KorgUSA"

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Interview with Hexfix93 of VAC

The following is an interview I just wrapped up with hexfix93 of Velvet Acid Christ. As you know, this site is about the gear, namely synths, and the gear that helps drive and enhance synths, but ultimately the focus is on synths.

I was chatting a bit with hexfix93 and asked him if he would be interested in a slightly different take on an interview, one focused on synths and their impact to his world. We all have our story regarding how our obsession with synths first started, how we see and approach synths and what they mean to us. I thought it would be interesting to hear his story. The following is the interview.

Before it begins, I want to thank hexfix93 for taking the time out for this. We all have a different approach and a different story when it comes to our synths. This is his. For more of his music check out VAC and don't miss Toxic Coma. Cheers, matrix.


1. What was your first synthesizer, how old were you when you picked it up, and why did you pick it up?

"It was some kind of old yamaha cheap thing. i got it for my atari st, so when i played games like leisure suit larry that the music wouldn't come from the wimpy fm built in sound, but a general midi synth instead. it really didn't sound all that great. i wasn’t really a keyboard player at this point.

The first synth i got as a keyboard player was a roland w30 sampler workstation. And we made like 3 records with that keyboard. i remember gary slaughter an x vac member, spilled orange vodka drink on it. and i had to take it apart and clean every part of it by hand slowly, it took weeks. it was a pure nightmare.

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Gristleizer PCB

via this auction

Update: group buy at electro-music.com

"This is a PCB to build the famous Gristleizer. Used by the industrial band Throbbing Gristle and many later experimental bands, the Gristleizer is a complex, but simple to build, effect.

It's a filter and a tremolo, controlled by an LFO, or low frequency oscillator. Here are some soundclips to help explain what it sounds like:

Using guitar. First clean, then with the Gristelizer on
Using synths and other effects [video below]

The board is carefully laid out to be easy to build. The part values are all listed on board, and there is an option to board-mount the pots. Included with the board is a wiring diagram for the off-board parts, as well as a bill of materials, and a set of build notes, instructions for tweaking and modding.

This is a bit more complex of a build than a fuzz pedal, so if you have never built any effects before, you may want to start with something a little simpler. Anyone with a little experience building effects should be able to build this fairly quickly and get great results."

Update: To be clear, the following videos are of the Smashing Guitars Gristleizer and not this DIY PCB. Results may vary.

Sold For: US $19.00

King Tut Plays the Gristleizer built by Endangered Audio

YouTube via keepyourkings

"The Gristleizer is born again! Made famous by Throbbing Gristle, raised on high again by Endangered Audio, a small, hand-built pedal company out of Asheville, North Carolina, The Gristleizer is the beastiest effects unit you've ever laid eyes on. Can also be used as a sound generator/synth of sorts, as you will see. For more info, go to: http://tinyurl.com/thegristleizerpres..." Be sure to see this post on the history of the Gristleizer

Update: via Taylor in this electro-music.com thread [linked above]:

"Hi guys, I'm not super-active on this forum, so please let me know if this is not where this belongs. I've designed a PCB for the infamous Gristleizer. This was designed in the 70s by Roy Gwinn and used most famously (and named by/for) the industrial band Throbbing Gristle. The circuit is an LFO with square, triangle, up ramp and down ramp waveforms, and a FET-controlled VCA and VCF. For the guitar guys I explain that more in depth but I assume you synth guys know what all of that is, right? The board is 3.3 x 2.1 inches (approx. 81 x 53 mm) and includes the option to board-mount pots. It includes a charge pump to derive -9v from a +9v supply. This is useful for building this as a tabletop or rack unit that will run off a standard single-sided 9v supply, but for modular use you can of course use your own bipolar supply. The board has been built and verified as working. I'm not positive how to estimate a difficulty rating for synth builders. It is a fairly small circuit, certainly in comparison to the gargantuan PCBs elsewhere on this forum, so it should be a quick and easy build. The board has black soldermask with white silkscreen, and all the parts and pads are labeled clearly on board. The boards are $12. Shipping within the US is $2 for one board and 50 cents for each additional board. Shipping to the UK and Europe is $4 for one board and 50 cents for each additional board. Other countries, contact me for a shipping quote. To order, send the total to taylorlivingston |at| yahoo |dot| com, and please indicate that it's for Gristleizer boards, how many, and your username at this forum. The wiring diagram with bill of materials and notes is here."

Update 12/10/2009: via Smashing Guitars in the comments:

"Hi this is Mark Boyd from Endangered Audio/King Tut/the video you have on your site. While we don't have any issue with you using our video to advertise your PCB, we would like you to make it clear that we a) your version likely sounds different than ours b) our PCB fixes the ticking problem without changing its sound c) our LFO has a wider speed sweep and the bias has a wider range as well. We have just dropped the price of our PCB and are working on a price for a full kit. http://www.smashingguitarsasheville.com That being said, in response to what has just been said in the comments, it sounds as if our PCB is less "modded" than this one as we did not change the LFO or the audio path. Also our version is the only one sanctioned by both Roy Gwinn and Throbbing Gristle. That being said, good luck with your builds! We don't want to cramp the DIY'ing out there in the least, we'd just like to make those important facts clear so the people who are going in for your PCB group buy know what they're getting into. Thanks, Mark any more questions email to endangeredaudio@gmail.com PS: that video isn't the greatest for getting the real sound of the Gristleizer by itself. check out these ones and let us know what you think!"

Gristleizer Stompbox With MicroKorg

YouTube via keepyourkings

"This is the official Gristleizer Stompbox demo from Endangered Audio. Based in Asheville, NC, Endangered Audio recreated an effect unit built by Roy Gwinn in the 70s and popularized by the band Throbbing Gristle. Here, Mark Boyd of King Tut runs the Gristleizer all sorts of ways through, around, and by a MicroKorg synthesizer. The three versions of the Gristleizer now available from Endangered audio include the stompbox, the tabletop, and the pc board. Go to http://smashingguitarsasheville.com/e... to check them out!"

The Gristleizer Guitar & Organ Demo by King Tut


"This is a demo song featuring the Gristleizer. The Gristleizer was designed by a young Roy Gwinn in the early 70s and popularized by the band Throbbing Gristle. This song by King Tut features the Gristleizer in many different ways. The only instruments not being run through the Gristleizer are the drums and bass. The Gristleizer is 100% analog, hand-built, and made in America."

Moogfest Workshops

"MOOGFEST 2010 ANNOUNCES RED BULL MUSIC ACADEMY MOOG WORKSHOPS AND PANELS AT THE MOOGAPLEX

HALLOWEEN WEEKEND – 10/29-10/31 IN ASHEVILLE, NC
MoogFest 2010, the extraordinary three-day festival which celebrates the innovative spirit of sonic pioneer Robert Moog, during Halloween weekend, October 29-31, in Asheville, NC, has already announced most of its outstanding lineup. Now, in addition to MoogFest’s excellent musical offerings, the festival will also give attendees the opportunity to dig deeper into the world of Moog with a wide range of panel discussions and workshops.

The Red Bull Music Academy has teamed up with AC Entertainment, Moog Music and the Bob Moog Foundation to bring together top minds in history, technology and education of Moog. Experts, ranging from Bob's colleagues in the seminal days of synthesis to the more contemporary sound sculptors of today, are coming from around the country to share their ideas and vast experiences. The Bob Moog Foundation will be responsible for the historical content at MoogFest, including items from Bob Moog's archives such as rarely seen vintage photographs and historic audio clips from recently restored reel-to-reel tapes.

News on the other activities will be announced in the coming weeks. With all of these exciting elements solidifying, MoogFest is proving itself more and more to be an essential experience for music fans and sonic adventurers from all over the world.

MoogFest 2010 Red Bull Music Academy Moog Workshops, Demonstrations & Panels:

SYNTH HISTORY PANEL – THE BIRTH OF THE MINIMOOG
Featuring:
Herb Deutsch (co-collaborator on first Modular in 1963)
Dave Van Koevering (first salesman for Minimoog and VP of Marketing at Moog Music in the 70s)
Tom Rhea (Former clinician, design consultant, and director of marketing at Moog Music; wrote Minimoog manual)

Moderated By:
Brain Kehew (Bob Moog Foundation Historian and keyboardist (Moog Cookbook)
TARA BUSCH – ARTIST PERFORMANCE & DISCUSSION ABOUT REMIXING WITH MOOGERFOOGERS
Tara is a synth siren well known as a prominent analog synth-blogger for AnalogSuicide.com. Her performances are ethereal explorations of analog sound.

TECH. PANEL - ADVANCED APPLICATION & SYNTHESIS
Featuring Cyril Lance, Head Engineer at Moog Music, and other Moog engineers.

SYNTH HISTORY PANEL – EXPLORATION OF THE BOB MOOG ARCHIVES

Featuring:
Brian Kehew (Bob Moog Foundation Historian, Keyboardist)
Michelle Moog-Koussa (Executive Director, Bob Moog Foundation)
Seva David Ball (Archive Preservationist, currently restoring Bob Moog's reel-to-reel tapes with a grant from the Grammy Foundation)

TECH. PANEL - MODERN DAY SOUNDSCULPTING

Featuring:
Richard Devine (acclaimed sound designer)
Tara Busch (prominent analog synth-blogger and synth-performer)
RICHARD DEVINE – ABOMINATRON II PERFORMANCE

Richard is one of the world's most acclaimed, young sound designers. His clients include top names in film and advertising. Richard will be performing on Moog Music's Abominatron II, a homage to Bob Moog’s original synthesizer prototype, created with current Moog synthesizers and effects processors.

SYNTH HISTORY PANEL - EXAMINING THE LEGACY OF MINI SYNTHS
Featuring:
Craig Anderton (Founder EM Magazine, signal processing guru, editor EQ Magazine)
Geary Yelton (Associate Editor of Electronic Musician, freelance journalist)
Steven Fortner (Editor, Keyboard Magazine)

Moderated By:
Brian Kehew

THEREMIN PERFORMANCE & LESSON WITH DORIT CHRYSLER
Dorit is an accomplished musician and composer best known for her ethereal Theremin style. After Dorit's performance, Moog Music will distribute 20 Theremins to the audience and participants will receive an interactive lesson from Dorit.


TECH. PANEL – THE POWER OF MODULAR SYNTHESIS
Featuring:
Erik Norlander (Synth rock legend, Moog aficionado, accomplish synth designer)
Amos Gaynes (Moog Music engineer)
The Wall of Doom (Erik's massive custom Moog Modular synthesizer)

MOOG GUITAR SOUND SCULPTING WITH SAUL ZONANA
Saul is a killer guitarist who has worked with Adrian Belew, Ace Frehley, Crash Test Dummies. He will integrate the Moog Guitar, Moogerfoogers, Multi-Pedal, and Little Phatty into an exploration of the guitars amazing capabilities.

All panels, demonstrations, and workshops will take place between Noon and 6:30 PM EST at the Moogaplex, located at the Haywood Park complex. They are first come, first served for those who bought either weekend passes or have a pass for that particular day. The dates, and times will be announced in the coming weeks.

MoogFest 2010 tickets are on sale now. To purchase weekend passes or single day tickets and for more information about the festival visit moogfest.com. To see the weekend schedule visit http://moogfest.com/2010/moogfest-2010/schedule/friday/.

MoogFest 2010 Lineup:

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Electro Harmonix MONO SYNTH DEMO /// EHX guitar synthesizer

Published on Mar 24, 2019 Pedals & Friends

"All parts were played with the Electro Harmonix MONO SYNTH pedal and a electric guitar!

The gear in this video:

Fender Stratocaster 1988
Fender Showmaster Stratocaster
Fret King Super 60
Blackstar Artisan 15 Head
Universal Audio OX Top Box

from the EHX site:

'The EHX Mono Synth transforms your guitar into eleven great sounding synthesizers… from vintage synth emulations to fat, stacked voices to soaring lead sounds and more.

The Mono Synth was designed to work on guitar without any modifications, special pickups or MIDI implementation. Its intuitive layout makes it easy to use and easy to dial in cool sounds quickly. The pedal’s DRY dial adjusts the dry guitar volume at the Synth Output while SYNTH controls the volume of the synthesizer sound at the Synth Output. Used together they let you create just the right mix. The SENS control, short for sensitivity, adjusts how playing dynamics trigger the synthesizer and allows you to fine-tune the pedal’s response to your guitar and playing style.

With the CTRL knob you can adjust a key parameter for each of the eleven synth types. It varies depending on the preset and provides extra tweakability for customizing your sound. There’s also an EXP input which lets you control an entirely different parameter in real-time with an expression pedal!

Using the built-in Preset footswitch, a user customizable preset for each of the eleven synth sounds can be created, saved and recalled. The factory presets are also easy to restore should you wish to.

From string-like synths, to aggressive resonant sounds and deep drones and bell-like tones, the Mono Synth puts a collection of hot synthesizers at your fingertips.'"

NAMM 2013: KingKORG Details via KORG.de

German | Googlish:

Some of the highlights below. Be sure to click the pics for the full size shots as always.  You'll find more at the links above.

"KingKORG | synthesizer

The king of the analog modeling synth - a terrific live performance

KingKORG is de r independent analog modeling synthesizer with a huge potential! KingKORG embodies the seamless continuation of the design philosophy of classic KORG analogsynths like the MS-20 and Mono / Poly, from which the Prophecy have originated Z1, MS2000, and RADIAS. This fascinating new instrument has the unique characteristics typical synthesizer and an arsenal of practical controls for a perfect sound design. Despite its impressive technology and synth beginners become familiar with KingKORG quickly. On stage, he offers not only his great sound, but also literally, with its magnificent champagne-gold finish that emphasizes its royal name - KingKORG.

Highlights

Full featured analog modeling synth with 61 keys - optimized for live performance
Powerful oscillators - understandable for beginners, fascinating for experts
Modeling Filters for the reproduction of classical instruments
3 effect sections (each with 6 types of effects) to the perfect design of the sound
Vacuum Tube Driver for brilliant overtones fat Distortion
New panel layout for intuitive operation
CV / GATE OUT jack mono tribe or to control a Korg MS-20 (mini)
Free Librarian software for program management to download"

"Powerful oscillators - understandable for beginners, fascinating for experts

In addition to a complex "3-oscillator x 2-timbre" technique to generate richer and more detailed sounds KingKORG features a newly developed XMT modeling sound engine. XMT (Xpanded Modeling Technology) is a proprietary Korg technology that allows easy operation in producing diverse sounds.

In conventional synthesizers, the individual oscillators while the sound creation only sequentially adjustable, the overall picture is hard to overlook. In contrast, offers KingKORG preset algorithms with various combinations of oscillators, which differ in type and number, and allow easy, fast creation of cool sounds.

The wide range of oscillator algorithms including not only the usual analogsynths sawtooth and square waves or noise generators, but also numerous PCM / DWGS algorithms that open up an entirely new field for a very custom sounds."

"Modeling Filters reproduce the sound of vintage instruments

Since the filter section on the characteristics of a synthesizer decides significantly, they found during the development of KingKORG special attention. The already large variety of analog modeling filter is significantly extended by the extremely flexible filtering of KingKORG.

In addition to the wide range of indispensable analog modeling filter types get realistic filter models to reproduce the analog monophonic lead and bass synths of the 70s, the New Wave typical polyphonic synths of the 80 and the filter of the classic Korg MS-20 analog synth.

Furthermore, can the setting of the filter resonance up to self increase - an existing analogsynths only real feature!"

"3 effect sections with 6 types of effect for a perfect make-up sound

KingKORG offers three effect sections with six types of effects: PRE FX with effects such as distortion and amp simulator FX MOD with classic effects such as phaser, chorus and tremolo, and REV / DELAY with spatial effects such as reverb and delay effects and different Plate. Each effect processor has it own dial to select the desired effect type. With the arranged underneath FX controls can precisely fine-tune the effect."

"Vacuum Tube Driver for brilliant overtones fat Distortion

Based on decades of experience in analog technology, a fully developed KORG analog vacuum tube driver circuit as a mastering effect for KingKORG. It produces the entire range between warm sonority and intense overdrive."

"Vocoding

The built-in vocoder uses the input of the Board held on microphone input for sound processing and brings the synth seems to speak.

His Formant Shift function causes dramatic sound modifications, while the Formant Hold function a vowel is "frozen", which can then play with the keyboard.

Thanks KingKORGs Doppeltimbre architecture can combine the vocoder even with a different timbre and use it as additional sound or modulation source.

Virtual Patch function

With many classic synthesizers (such as the MS-20) could configure the signal flow with patch cables to physically connect one element to another. KingKORG forms this function by using an intuitive virtual patch system. Over six Virtual Patch assignments per timbre can be joint control signals such as EG, LFO, or virtual joystick movement with sound parameters like pitch or cutoff and modulate these creative."

"Step Arpeggiator function

The Step Arpeggiator automatically generated from a sustained chord a tone sequence (arpeggio). You can choose among six Arpeggio and set duration, interval and on / off status of each Steps to arpeggios exactly to your own performance.

New panel layout for intuitive operation

The newly designed control panel is divided into logical blocks that direct the attention to the things that are for the processing of sounds important. Although KingKORG reflects the signal flow of a analogsynths in its construction, to its control panel is the most modern technology. For example, the oscillator section shows on its own display the name of the currently selected algorithm.

By turning the selector dial to appear adjacent to it are descriptive names, and by pressing the wheel to jump to the beginning of categories such as ANALOG or DWGS. The knobs are the most effective and most important parameters assigned to each oscillator and provide access to the unique features of an analog synthesizer sound design --- by turning knob. Also for each of the three effects, a separate controller is available to easily experiment with different effect settings and test their effect on the sound. A self-luminous organic EL display (Organic Light-Emitting Diode) provides on dimly lit stages for excellent readability."

"On the CV / GATE OUT jack allows an analog signal for controlling a mono tribe or KORG MS-20 output. With the included cable you can then eg play the mono tribe on KingKORG keyboard!"

This one in via Robert Karasek

Arturia Buchla Easel V Comparison with Buchla 208P

Published on Jun 4, 2018 Tritone Guitars

"Heath Aldrich and Dave Anderson compare and discuss the Arturia Buchla Easel V with Heath's physical Buchla 208P. Video production by Jesse Bader"

I'm familiar with Roman Filippov's 208r clone, but not the 208p. I did a quick search and found the following: (Update: turns out the 208p is essentially a clone of the clone. Some info added further below)

Buchla 208p Music Easel First Sketches

Published on Mar 19, 2018 Heath Aldrich

Update regarding the 208p: "Papz put his version out earlier this year, and it has all the fixes implemented from Roman's 208. http://www.portabellabz.be/208pcb.html. I recommend this version of you want to build one."
You can find a few posts featuring Portabellabz in the archives here.

Playlist:

1. Buchla 208p Music Easel First Sketch

This is DIY Buchla 208 Music Easel that I built. It took me over 50 hours, and it still isn't perfect, but it is perfect for me. This synth has such a rich sound, and is so easy to change the voice of the patch, that it is hard to not be inspired by playing with it. I have always wanted one, and am so happy I had the chance to build one.

This is a idea that I have been working with since I started calibrating this beast. It is far from complete, but I like where it is going. All sounds were recorded direct from the 208p, no external processing, no external effects. Just a boy and his toy.

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Rhodes Chroma - one song - one synth

Note: Auction links are affiliate links for which the site may be compensated.
video upload by The Synth King

You can find a playlist of single synth demos by The Synth King here.

"Here is another video with the RHODES CHROMA and a song exclusively produced with sounds from this single instrument. I use Steinberg Cubase 10.5 as DAW. FXs are Waves H-delay and Valhalla vintage verb.

Drums & persussion were also designed with the Chroma, then sampled, processed and imported into Steinberg Grovve Agent. Mastering has been done with Waves L2, thats it. Enjoy the music !!"

via this auction

"8 note polyphonic synthesizer. One of only 2000 manufactured in the early 1980's, if you are interested in this one you will most probably know much more about them than me however you can read all about them if you click . The link will take you to a 27 year old article in Sound on Sound which refers to the value of a used Chroma at £1,500, those were the days, to put things into perspective a German owner recently advertised a faulty one on eBay at £15,000 so our valuation of £7,000 for a fully working model seems exceptionally fair. No offers please.

The Rhodes Chroma was never fitted with Midi during manufacture but it was possible to fit a Midi modification. When this one came in it had a fault which was caused by the Midi mod which no longer worked, during the service of the Chroma Adrian removed the faulty Midi kit and made other repairs so it is now 100% however the non-functioning midi sockets are still fitted to the unit."

BillTMiller ARPCHIVES

Alan R. Pearlman Foundation

"From The Alan R. Pearlman Foundation:
A fantastic visual feast through Bill Miller's ARP Journey! (ALERT: A few strobe lighting effects for those who are sensitive.)

Musician / Recording Engineer - Producer / Filmmaker - Photographer - BILL T MILLER has been on the quest for SOUNDS and FUN ending up on a path to ARP SYNTHESIZERS starting with a TOY PIANO on his second birthday, then a bit of tinkering on his grandfather's grand piano, then scoring MAGNUS CHORD ORGAN and an ACETONE ORGAN in his early teens in the late 1960s with his band THE ELECTRIC ONION where he played guitar/bass and a bit of drums and keyboards.

By late teens (in 1975) he ended up at COLLEGE for RECORDING ARTS in San Francisco (in Golden State Recorders Studio) where he studied recording engineering production and took synthesizer classes. Walking into the first synth class revealed ARP 2600 in person..... luv at first sight.

Shortly after graduating and moving to Hollywood with hopes of buying a 2600.... reality set in and he scored a USED ARP ODYSSEY MK1 1974 model, that was purchased in late 1976. Some of the recordings you hear in this video are part of those BTM Bungalow Bill Sessions 1976-77 (although Bill had been playing music for over a decade at that point, those ARP SYNTH tapes are the earliest surviving BTM recordings in existence.)

Working in California doing recording and live sound from 1975-1980, he ended up back on east coast (where he had spent first two decades of his life.) Eventually ending up in BOSTON (1984) working at Daddy's Junky Music (selling recording and sound gear) while doing freelance sessions at studios (PolyMedia, Newbury Sound) and live sound at venues (The Rat, Bunratty's, The Channel) and starting his own semi private project studio HEADROOM.

Fast forward to early 90s... a band BTM had recorded before called CHEATER SLICKS popped into Headroom and said meet our new bass player DINA... and then pointing to BTM's ARP ODYSSEY (that he had hung onto since LA 76 era) said something like... DINA's father's company created YOUR SYNTH....meet DINA PEARLMAN... daughter of ALAN R PEARLMAN. wow. cool. We chatted a moment about how much I luved my Odyssey and she spoke very briefly of her father and some ARP adventures (mentioning Pete Townshend and more) = but then we jumped right into recording the garage punk band tracks where she nailed solid bass guitar for a raw live session.

So... jump way ahead and BTM continues creating experimental music with his own bands... Out of Band Experience (OBE), Kings Of Feedback, Drum Army, King Of Slack, Orgy Of Noise, Zonkulator and recording and photographing tons of OTHER artists (hardcore, garage, punk, metal, noise genres.) All the time digging further out into weirdo land with circuit bent toys, and custom electro acoustic instruments, and of course synthesizers. Always hanging onto that original icon ARP ODYSSEY and his Roland JX-8P and adding an ARP 2600 and modular eurorack synths and more to the mix. Active in various Boston synthesizer synthfests/meetups playing live synth concerts at the DAVID FRIEND RECITAL HALL at BERKLEE in Boston. Then he attended the "Alan R. Pearlman - Everything ARP Symposium" at Berklee finally saw DINA PEARLMAN again with her father and mother and all the ARP family in a sort of THIS IS YOUR LIFE celebration of all things ARP. A moment in ARP history that is beyond words.

Much respect to DINA PEARLMAN for the Alan R. Pearlman Foundation and ARP ARCHIVES carrying on the ARP family legacy in memory of her mother and father and all the ARP family who created and played and sold and loved ARP Synthesizers over the now 50 years. Dennis Colin and David Friend are two of the people that have contributed so much to the ARP legacy, but there are so many others who were there in essentially what amounts to the golden 70s decade of ARP that made it all happen. Now with the help of Dina's love and devotion ARP lives on and on.

Bill T Miller has always LUVED ARP and his first synth the ARP ODYSSEY is still the centerpiece and heart of his studio HEADROOM in BOSTON.
Always exploring the weird sonics and basically ignoring the create a patch on a synth to simulate "real" instruments thinking and going for
the outer space blip bloop sample and hold I hear a new universe of unreal electronic music.


more nfo on BILL T MILLER via
http://billtmiller.com/arp
http://BTMTV.com
http://OrgyOfNoise.com


THANX...
Alan R Pearlman / ARP Archives
https://alanrpearlmanfoundation.org"

An Interview with Barry Schrader

Hi everyone! As you know Barry Schrader will be giving his farewell concert at CalArts on September 26. The following is the beginning of my interview with him. I opted to post the questions and answers as they come in.  New QAs will get a new post so you do not miss them and they will be added to this post so we have one central post for the full interview. This should make it easier for all of us to consume in our busy lives, and it will allow you to send in any questions that may come to mind during the interview process.  If you have anything you'd like to ask Barry, feel free to send it in to matrixsynth@gmail.com.  This is a rare opportunity for us to get insight on a significant bit of synthesizer history, specifically with early Buchla systems, and I'd like to thank Barry for this opportunity. Thank you Barry!

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Jimmy Hotz, Inventor of the Hotz MIDI Translator Hardware and Software Has Passed Away

video upload by Hotz777

"Jimmy Hotz uses the Hotz Box to explore new musical frontiers of real-time performance. The Hotz Box was invented by Jimmy Hotz and first manufactured by Atari.

For more information about Jimmy Hotz and his music and inventions visit jimmyhotz.com or the Hotz store at hotzstore.com."

Image via Wikipedia

[1985 Jimmy Hotz (age 30)plays daughter Rains first keyboard]

credit: Gamegridrain - Own work

Sean McKee wrote in to let us know Jimmy Hotz, inventor of the Hotz MIDI Translator, passed away on June 5th of a heart attack.

"He created the rare and ahead of its time Hotz MIDI Translator hardware and software. If you remember I made a video about it. [video below]

End of an era. May he Rock In Peace."

From wikipedia:

Jimmy Hotz is an American inventor, record producer, recording engineer, electronic music pioneer, audio expert, author and musician.

Hotz began playing guitar at the age of seven.

He plays a number of instruments such as the guitar, keyboards, flute, drums and his own inventions such as the "Hotz Box" and the "Hotz MIDI Translator". Hotz has done a number of recordings where all of the instruments were played by him using only the Hotz Box as an input device.[1][2]

In the music business Jimmy Hotz has worked with Fleetwood Mac,[3] Dave Mason,[4][5] NSYNC,[6] Mobius 8 [7] B.B. King,[8] Yes, Jon Anderson,[9] Haven[10] and dozens of other recording artists as either a producer, engineer, mixer, studio musician, or musical instrument designer. Hotz was engineer and did programming on B.B. King's Grammy-nominated King of the Blues: 1989. Hotz was also the engineer on King's Grammy-nominated "Standing on the Edge of Love", for Best Contemporary Blues Recording in 1988 (from The Color of Money soundtrack).

You Rock Guitar featured a video of Jimmy playing their MIDI guitar through the Hotz Midi Translator software.[11]

In 2011 he released his debut novel, The Gates of Time.[12]

Hotz lived and worked in Southern California while developing his inventions.[13]

Inventions
He is noted for his pioneering work with electronic music synthesizer MIDI controller development[14] / programming and as a technical consultant to Microsoft, Intel, Electronic Arts, Atari,[15][16] JBL and other concerns for new product development.

He is the inventor of the "Hotz Box", Hotz "MIDI vest" and the "Atari Hotz Box", "Hotz MIDI Translator",[17] computer software which has won interest and acclaim at the annual NAMM Show. Performers such as Mick Fleetwood, Jon Anderson, Paul Haslinger, Scott Gershin and others have been using Hotz products in their creative work.[9]

He is the inventor of numerous electronic devices and software innovations and has received three US Patents[18][19][20] in music technology.

As an expert in 3D computer graphics, Hotz was the chief visionary behind the 3dMAxMedia "Zuma Project",[6] assembling the team which developed the technology to manipulate 3D imagery in real-time with audio, MIDI and other real-time control devices).

"Zuma" won a 2001 Innovation award from Computer Graphics World Magazine and was used on the 2001 NSYNC PopOdyssey tour.[21]

Hotz Box MIDI Translator - The Original Theoryboard w/Polyphonic Aftertouch

video upload by Sean McKee - previously posted here

"A history, overview and tutorial of the very rare Hotz Box MIDI Translator hardware and software, invented by Jimmy Hotz. I decided to make this video because the only videos I found of this synth MIDI controller were of people playing the Hotz Box, but there was really no information out there on how it worked, and on forums it was very misunderstood. Hopefully this video will provide enough insights to educate people interested in this system and how it can be used. If you'd like to get a custom system built of any size, Jimmy can add polyphonic aftertouch and other features. For more information visit www.jimmyhotz.com."

Jimmy Hotz playing the SpaceHarp through the Hotz Translator software.

video upload by Hotz777

"Jimmy Hotz playing the SpaceHarp through the Hotz Translator software. Jimmy quickly shows a variety of playing styles and sounds
The light rays have been enhanced to make the hand movements more clear.

To get your own SpaceHarp visit. https://www.indiegogo.com/projects/sp..."

Concert Co. "The Affair" vintage analog synth

via this auction
See the here for more.
"Strange and unusual synth made by "The Concert Co." called "The Affair," Model 8000. Not even listed in the Peter Forrest book. And, no information I could find at least on the www. It is a cross between a synth and a flute synthesizer. It has separate RCA outputs on the back for both plus a switch to shift the flute to main or main to flute (as they are slightly unconventional I will include two 1/4" to RCA cables). It is polyphonic for at least up to five notes. Caveats: there are several light scratches on the wood as depicted and other light scratching top bottom front rear sides - the biggest scratch is on the front lip right above middle C. The keys and sliders are sticky. I have included pictures of all of the tabs and sliders. Some of the controls do not appear to work, at least, I was unable to figure out the correct combination of switches to depress combined with sliders to adjust. From left to right: the electric bass preset voice is intermittent above the lowest octave (perhaps it was meant to work this way); the electric piano does not appear to work; the vibraharp works; the harpsichord works. I do not know the "quadratouch" tabs work but they did not appear to have any effect on the sound. I do not know how the "attacks/sustains" tabs work but they did not appear to have any effect on the sound. Both flute voices (open and stopped), and all of the "main voices" (vox brass reed and strings) work. The flute voice is particularly nice and from the design (separate output, etc.) it seems this was one of the main purposes of the synth. All of the "effects" tabs work, the "alteration" and "reiteration" tabs appear to do the same thing, which is to add a slider-adjustable hard vibrato - sounds pretty psychedelic, like something early King Crimson would use circa its "Lizards" album. The "synthesis" tab works and appears to combine an additive voice with one of the other voices when activated. There may be other issues I have been unable to discern, so regretfully sold with these caveats and "as is." If you know how to fix this stuff you could end up with a fine, unusual instrument."

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Waves of Inspiration: The Legacy of Moog Exibition Updates

"Exhibition features Keith Emerson's Legendary “Monster Moog” Modular Synthesizer through October 18th, 2009

CARSLBAD, CA/ASHEVILLE, NC – The Museum of Making Music (Carlsbad, CA), in partnership with the Bob Moog Foundation, has opened Waves of Inspiration: The Legacy of Moog exhibition, to run through April 30, 2010. The exhibit is the first of its kind, marking the first public display of the artifacts from Bob Moog’s archives and an examination of the impact of his work on the world of music.

MONSTER MOOG INSTALLATION
On August 30th, Keith Emerson's (Emerson, Lake and Palmer, The Nice) mammoth “Monster Moog” modular synthesizer was added to the exhibit after it was featured the previous evening in a musical celebration of the exhibit opening by Emerson and Erik Norlander. Emerson used this remarkable instrument on numerous recordings over the past 40 years, including his solo in “Lucky Man” (1969), possibly the most popular synth solo in history. He also used the synthesizer on countless world tours and is generally credited with pioneering the use of the Moog modular as a touring musician.

The “Monster Moog” began as a modest system, but grew over time as Emerson
requested that Moog create custom additions for his touring instrument, including extra modules, custom sample-and-hold, and several pre-sets, an innovative addition for that time. The synthesizer grew into a massive cabinet of five sections and over 75 modules. It stands more than four feet above its special base – almost 8 feet high. Its sound is noticeably clearer and stronger than any other keyboard Emerson plays – it is an instrument of significance and legend, and arguably the most famous synthesizer of all time.

Bob Moog and Keith Emerson enjoyed a special relationship of toolmaker and musician that grew in to a lifelong friendship. Moog is noted for listening to musician's needs and technical specifications which he then used to improve his instruments: This dynamic is explored throughout the Waves exhibit.

KEITH EMERSON

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