Paul McGowan of PS Audio Explains the Moog Synthesizer

video upload by Paul McGowan, PS Audio

"The classic Moog changed the world. Paul helps us understand what all the wires and modules actually do."

https://www.psaudio.com

Fascinating bit at 1:50. Paul McGowan actually created his own synthesizer, The Infinitizer. Curious if there are any images of it out there. He almost sold one to Wendy Carlos. It gets a mention in his book 99% True: Almost a National Bestseller which you can find on Amazon here (note this is an affiliate link - see the site's privacy policy for more info).

Update: I asked Paul if he had any pics of The Infinitizer. Unfortantely he didn't, and he no longer has any of the parts, but he did send over the following additional info:

"I don’t have any photos of the Infinitizer, unfortunately. I remember a very sad day back in 1995 or so when I was cleaning out my lab and had to own up to hauling it off to the dump (it was a mere skeleton of PCBs, a keyboard, and lots of wires and didn’t work)."

"The idea was to make 10 synthesizers into one unit that was easy to use. This meant it would be the world’s first polyphonic synth, since musicians only have 10 fingers.

I designed a complete analog chain of 10 modules (the usual: VC filters, oscillators, envelope generators, amplifiers, etc.). Then, I hired an engineer out of Vandenburg Air Force Base who was a whiz at this new thing called “digital”. He designed for me a multiplexed keyboard that constantly scanned all the keys looking for ones that were pressed. The keys were all internally numbered and when pressed, the multiplexer would find an available VC oscillator and assign that number to the oscillator. Because we know the number of the key, the appropriate voltage was sent to that oscillator and it produced the appropriate frequency for that key. In order to have the entire keyboard voltage move up and down (like if you wanted to bend the notes or modulate the frequency with a LF oscillator) the master voltage (that got divided by the individual keys assigned to it) could be accessed as one might normally do through the patch bay.

I also wanted to have the keys pressure sensitive so for that, I invented the use of conductive foam under each key (and that too could manipulate the master voltage to the oscillator banks) and could be assigned to modulate any of the other modifiers too. My patch bay was a switch matrix and pots kind of like ARP used to do.

It was a very cool device which I wrote about extensively in my memoirs, 99% True."

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As for the first non organ based poly synth, currently that honor likely goes to one of the following depending how you define it:

1975 - Buchla 502 - six voice polyphonic with minicomputer and ability to save patches to tape drive. Development on the 500 series began in 1969.

1975 - Oberheim FVS - four voice polyphonic with Polyphonic Synthesizer Programmer. Not sure if the 502 or FVS was released first.

1977 - Yamaha - CS50/CS60/CS80 - first single enclosure polyphonic keyboard synthesizers, with the CS80 to be the first synth with poly aftertouch

1978 - Sequential Circuits - microprocessor control the SCI prophet 10 (briefly) and the P-5 --- again based on existing E-mu tech stuff

via The First Synth to...

Synthstrom Audible Deluge 4.0 Adds Wavetable Synth, Euclidean Sequencing, MPE & Polyphonic Aftertouch & More

DELUGE WAVETABLE SYNTHESIS video upload by Ollie Loops

"In this video, we explore the new WAVETABLE SYNTHESIS features added to Deluge in firmware 4.0 . These features enable users to load wavetable audio files into an oscillator and modulation position of the waveform. This means much more dynamic and evolving sounds are possible on Deluge.

Firmware 4.0 adds a host of other great features to Deluge. It's so great when a manufacturer continues to support a device by adding new and exciting features via firmware."

Wavetable Synthesis (4.0) // Synthstrom Deluge Tutorial

video upload by Ron Cavagnaro

Intro 0:00
Setting up a new synth 0:23
Assigning a Knob To Lfo2 Rate 1:54
Changing Wavetable File 2:35
Making a Pattern 3:00
Changing Wavetable File 3:49
Changing Lfo2 type 4:19
P-locking Notes To Wavetable Position 5:20
Loading Osc2 Wavetable 6:10
Extended Wavetable Drone Demo 9:26

Generative Sequencer Tools - Playback, Row Length, Euclidean (4.0) // Synthstrom Deluge Tutorial

video upload by Ron Cavagnaro

Intro 0:00
Playback Mode 0:32
Row Length 1:23
Playback Mode and Row Length 3:15
Reset Row Length 3:53
Conditional and Iterative Notes 4:39
Euclidean Sequencing 6:19
Nudging Notes In a Kit Row 8:43
Playback Direction Per Kit Row 10:18
Resampling, Slicing 11:09
Kit Row Length and Ping Pong 12:14
Resampling and slicing again 13:20
Resampling and slicing again 15:03
Resampling and slicing again 16:46
Comparing the results 18:20

Synthstrom Deluge & MPE - 4 0 Firmware Update

video upload by Too Mere

"Demonstrating the MPE functionality and making a tune with the Linnstrument to control and edit MPE on the Synthstrom Deluge."

-------

Details on the 4.0 update via the Synthstrom Audible forum:

"We're very excited today to announce the arrival of our huge 4.0 software update.

Instructional videos and downloads links are at the bottom of this spiel.

Highlights include:

Wavetable synthesis, and improved single-cycle waveform playback.
Support for MIDI Polyphonic Expression (MPE), and similarly MIDI polyphonic aftertouch. The Deluge can receive MPE from external MIDI controllers that support it, it can record this data, and the internal Deluge synths can respond to it. And this MPE data may also be output again to an external synth.
Euclidean sequencing - per row of a clip on the Deluge. This also means that now individual rows within a clip may be set to different lengths.
Sequences can be set to play in reverse, or to ping-pong.
Synths, kits and songs may be put into folders, and the user can browse these when saving and loading.
MIDI input devices (and to a limited extent output devices) may be differentiated and treated separately, so that two devices sending on the same MIDI channel won’t be confused.
Improved handling of regular MIDI pitch bend and channel pressure. Adjustable MIDI pitch bend ranges.
Sharing presets along with their audio files, with other Deluge users, is now easier.
MPE SUPPORT
This massive release makes the Deluge the first standalone hardware sequencer to offer comprehensive MPE (MIDI Polyphonic Expression) support, allowing you to record, edit and transmit expressive MPE with compatible devices. You can also use external MPE devices to get expressive with the Deluge’s internal synth/sample engine. Tip: combine with the Deluge’s multisample support to bring expression to everything!

EUCLIDEAN SEQUENCING & INDIVIDUAL ROW LENGTH
Euclidean note entry brings an entire new method of beat and melody creation to the Deluge. Coupled with the ability to now make any row within a kit, any length, this infinitely broadens the scope for new rhythmic variations and ever-evolving melodies.

You can set the length of a row, dial in how many steps you would like to play on that row (automatically divided ‘musically’), and then move those notes horizontally - this becomes not just a new way to make innovative rhythms, but an incredibly versatile performance tool.

PLAY-DIRECTIONS
If being able to set the length of a row wasn’t enough, you can now tell the Deluge what direction (forward, reverse or ping-pong) to play-back those particular notes and not only that, you can have each and every row playing a different direction. Warning: fun.

POLYPHONIC AFTERTOUCH, IMPROVED “MONO” EXPRESSION
In bringing MPE to the Deluge, we at the same time introduced support for good ol’ MIDI polyphonic aftertouch, plus you can now record both pitch bend and channel pressure (aka monophonic aftertouch) into synth, MIDI and CV clips. And, this data now stays with the clip even when you change presets or switch between clip type (e.g. from MIDI to synth etc.).

Previously, synth clips could only record pitch bend, not channel pressure, and CV clips couldn’t record either.

ADJUSTABLE BEND RANGE
The Deluge is no longer stuck with a 1-octave bend range. Now, there’s a global setting under DEFAults -> BEND to set the default bend range. This should default to 12 semitones (1 octave) for all existing users, it will default to the more normal 2 semitones for new users. Anyway, you can go ahead and change it.

WAVETABLE SYNTHESIS, AND IMPROVED SINGLE-CYCLE WAVEFORM PLAYBACK.
How about an entirely new form of synthesis? The Deluge will now support Wavetable files, Ringmod on the Deluge is also totally compatible with Wavetable, you may even put a separate wavetable in each of the two oscillators, with each of their wavetable-positions affecting the resulting sound.

The Deluge has always supported the playback of single-cycle waveforms by loading them as samples. But now, a technically superior option is for these to be played as a wavetable, as the wavetable engine is more fit for this purpose: it is more CPU-efficient, and will produce higher quality sound with less aliasing, particularly with high notes. It also allows the use of ringmod and oscillator sync. The wavetable-position parameter is not available when playing single-cycle waveforms, as there are not multiple cycles to interpolate between.

PRESET & SONG FOLDERS
Our users jumped for joy when we announced this new addition. You can now separate your 1 million presets and songs into folders to make navigation easier!

DIFFERENTIATING MIDI INPUT DEVICES
Now, the Deluge will differentiate between MIDI coming from different hosted USB devices, and MIDI into the input DIN port, and from a connected computer which is hosting the Deluge.

Let’s say you have the Deluge hosting say a Keystep via USB (and that’s through a USB hub), and you’ve actually learned all 16 channels from that Keystep to different synths on the Deluge. Well, then you could connect another USB MIDI device to your hub, and learn those 16 MIDI channels to yet another 16 synths on the Deluge. And whatever MIDI device is plugged into the Deluge’s DIN input will have its 16 channels treated as independent yet again.

IMPROVED MODULATION MATRIX
Lastly, we’ve also improved our modulation matrix! - The feature where the modulation-depth of a source-param pair (or “patch cable”) can itself be modulated by another modulation source – well, previously the Deluge could only handle doing this for one such patch-cable per synth. This limitation has now been removed, and you can do it for as many patch-cables as you want, subject to other existing limitations.

HAVE FUN!"

Evenfall Mini Modular Designed by Grant Richter of Wiard

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

This one was spotted and sent in via Soviet Space Child.

via this auction

"I guess 50 (60?) of these were produced, either as kits or assembled products. I bought this to complete my own rack full of Grant Richter modules. It was a largely an impulse buy fueled by the tingly feelings my Wiard 300 modules give me. Make no mistake--this is NOT a Wiard module nor does it sound like one. It is not nearly as awe-inspiring overall, though it does have a few tricks that make it worth exploring. Definitely a cool piece of synthesizer history.

I found this to be, overall, one of those "sweet spot" machines, where nuanced wiggling can give you some really unique and impressive sounds. This is particularly true with the bandpass filter, which really sounds like Satan yelling about the weather while contending with a head cold. Very cool.

There are a few peculiar aspects to this, such as the weird gain staging. Any setting after 12 o'clock in the VCA will saturate/distort. Maybe you like this. I don't care for it personally. That's just the way these things work, as confirmed by several other owners, as well as Cary Grace, who currently builds all modules under the Wiard name, and who tours with an Evenfall Mini Modular (largely because it's small and light, I guess). This is a very lightweight synthesizer.

The pots are all mini pots, like attenuator pots on lots of modern Eurorack modules. I'm a bit of an oaf for these, but they're not difficult to work with.

I have not opened it to check internals or perform any mods. I'm not sure whether there are schematics floating around, but if you choose to go that route I'm sure you're an intrepid enough lad or lass to chase them down.

Cosmetically, there is some damage on the lower right edge of the panel; I have straightened this to the best of my ability.

Their words (copy/pasted info from around the web):
The Evenfall Mini Modular Synthesizer is a rack mountable semi-modular analog synthesizer featuring the warm, organic sound of real analog circuitry and the flexibility of individual control knobs and a patch cord interface.
The Mini Modular also features internally "pre patched" or "normalized" connections among the modules. These connections make the Mini Modular a capable synthesizer even without inserting patch cords. These internal connections can be overridden by inserting 3.5mm patch cables as desired.
The Mini Modular can be patched to make sound by itself or in conjunction with another voltage-controlled synthesizer. It can also be controlled from a MIDI controller via the built-in MIDI to CV interface which provides pitch, velocity, gate, pitch bend, portamento on/off, and modulation output voltages.

-
This synth was designed by Grant Richter of Wiard synthesizers and there were roughly 60 sold, 30 in kit form and 30 assembled. The previous owner told me this is a factory-assembled unit.

Grant wrote this on the old Wiard Yahoo list:

"That is a great little instrument.

It was originally slated to be the Wiard Model 3600, but I decided to pass on it because we could not find knobs to fit the little nubby pot shafts. They are just like TR-808 tuning pots. I feared the lack of knobs would limits sales too much.

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Synthstrom Online Festival #1

Published on May 16, 2020 Synthstrom Audible

"A 3-hour streaming festival with community live chat, showcasing brand new, previously unseen, live performances on the Deluge.

All artists have contributed their time for free and it is hoped you can spare a moment to make a donation to NZ Women's Refuge in return. Please follow this link: https://womensrefuge.org.nz/make-a-do...

An A-Z of the artists appearing (not order they appear on stream) is below, with a link to check out further of their work.

CLICK FOR MORE »

Roland Announces the TR-8S Rhythm Performer - A TR-8 w/ Samples

Published on Mar 4, 2018

Roland has announced a new TR-8 with sample playback and sample import (no live sampling), available this month for $699 / €699 (with VAT). Note the included classic TR engines are still ACB modeled and not sample based. You can mix and match kits. Details follow.

Playlist:
Roland TR-8S Rhythm Performer [Performance by Maika Loubté]
Roland TR-8S: Overview
Roland TR-8S: Sound Design
Roland TR-8S: Sequencing
Roland Aira TR-8S Sampler quick workflow with custom sample Demo by Sound Provider

"Introducing the Roland AIRA TR-8S: Rhythm Performer Meets Sound Designer.

The performance-tuned TR-8S combines stereo sample playback with iconic Roland TR- drum sounds and deep editing parameters to allow you to craft your dream drum kits. New sequencer, motion-recording, and increased variations, effects, and outputs are some of the features that have evolved the TR- drum machine to set a new standard in sound design and live performance."

"Born of the most famous and influential drum machines ever made, the TR-8S combines the best of its Roland heritage with modern production techniques and professional sound design.
The result? A forward-thinking, performance-tuned instrument unlike any other. Build your dream kit from the most iconic drum sounds of all time,
plus the finest selection of samples from our vast library—or import your own custom samples. Tap, tune, and tweak with hands-on controls and production tools that make your patterns move and groove. And why keep this kind of percussive power confined to the studio? The TR-8S was literally made to play live.

Design Kits with Authentic TR Drums,Sampled Sounds, and Effects

The TR-8S comes loaded with the largest, most authentic collection of TR drum machines available. The powerful new processor gives our next-generation ACB models a whole new level of detail and nuance, giving you that classic Roland boom, snap, and sizzle. And now you can incorporate preset and custom samples, creating unique hybrid and layered kits, and enhance them with specialized effects that inject professional sound design into the TR formula.

Transistor Rhythms

The TR-8S has every sound from the most sought-after TR drum machines, with detailed circuit-models of the 808, 606, 909, 707, 727, and even several modified versions. These are not sound-alike sample-packs or mere recordings of TR drum sounds. Each machine is a detailed, down-to-the-circuit-model that sounds and behaves exactly like the original hardware. All these sounds are yours, at your fingertips, and ready to use in your own productions and performances.

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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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Yamaha reface Mobile Mini Keyboards: Get the Sounds Made Famous By Your Favorite 1980’s Band

Published on Jul 7, 2015 yamahacorporation

Updates: new Yamaha reface promo videos added above, Sonicstate, Gear4music and Keyboard Mag videos below. Tons of additional picks including the interface screen of the reface DX added below. Click each pic for the full size shot.

Yamaha reface Videos from Keyboard Magazine


Yamaha reface Sonic State First Look Videos


Yamaha reface Gear4music Demos


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Your Sound. Any Place, Any Time

Published on Jul 3, 2015 Yamaha Corporation of America

And the press release, full details & a ton of pics are in.

"NASHVILLE (July 9, 2015)—Yamaha today introduced the new reface Mobile Mini Keyboards, portable yet powerful sounding keyboards that descend from a distinguished pedigree.

Why should guitarists have all the fun playing outdoors or anytime inspiration strikes? Even for beginners, these boards are fun to play because there are no deep, complicated control panels to learn: turning knobs and sliding faders brings an instant change in sound and players are able to create their own tones for a fun, tactile experience.

Building on Yamaha’s 40-year heritage of creating some of the most heralded and renowned electronic keyboards in music history, reface reimagines the interface of four classic Yamaha instruments – some of which are difficult to find in the vintage market and weigh too much to carry around. The new series offers thick, booming sound, built-in speakers, 37 keys with professional-grade HQ-Mini action (derived from the flagship Motif XF professional synthesizer) and battery-powered portability for making music on the go. But more than mere travel companions, these versatile keyboards connect with external speakers, smartphones, tablets, MIDI devices and computers for use on stage and in the studio.

reface DX draws its inspiration from the iconic DX7, which debuted in 1983 and became the first commercially successful electronic keyboard used extensively by a multitude of bands throughout the decade and beyond, including Toto (“Africa”), the Doobie Brothers (“What a Fool Believes”) and the theme from “Beverly Hills Cop” (Axel F”). With the press of a button, the reface DX changes from retro-80s tones to cutting-edge modern sounds perfect for EDM. A new Multi-Touch Control interface makes it easy to customize your sound with the powerful FM (frequency modulation) synthesis engine. The instrument includes 8-note polyphony, 32 Voice Memories and a backlit display.

reface YC reimagines the YC Yamaha Combo organs, introduced in the late 1960s and used by Pink Floyd, Tangerine Dream and others. The YC offers all the expression of drawbars, rotary speaker, percussion and effects. It includes five retro organ sounds—ranging from tonewheel to transistor to the original Yamaha Combo organ—and 128-note polyphony.

reface CP redesigns the Combo Piano, launched in 1975 and ubiquitous on stages during that era. The sound enhanced the work of Keane, U2, Genesis, Billy Joel and more. The CP model features six electric piano sounds including tine, reed, clav, toy and CP80 plus direct control of six different 1970s-style effects built into its retro-chic design. It also includes a sustain pedal input with a half-damper response and 128-note polyphony.

reface CS rekindles the legacy of the CS-series Control Synthesizers, introduced in 1976 and played by Vangelis, Stevie Wonder and Michael Jackson, among others. Offering 8-note polyphony, reface CS uses virtual analog synth technology and five flexible oscillator modules to create a wide variety of complex sounds from analog to digital.

reface features a 'one to one' control scheme, meaning the panel controls perfectly match the tone generator for direct sound creation and musical inspiration.

'reface offers high-quality touch, tone, interface and superior design at an affordable price,' said Nate Tschetter, marketing manager, Music Production, Yamaha Corporation of America. 'These inspiring, horizon-expanding instruments are fun to play and let keyboard players take their music anywhere.'

The reface YC, CP, CS and DX mobile mini keyboards (MSRP: $799) will ship in September 2015.

For more information, visit http://4wrd.it/yamahasynth or http://4wrd.it/usayamaha"

Click the pics for the full size shots.

Additional detailed interface pics added below.

CLICK FOR MORE »

Modal Electronics Introduces New Mini Three Octave 001 Synth, 002R Rack & 008 Black Analog Synth

Update: pics of the 002R rack & 008 added below.
Update2: 002 press release added below. 008 should follow soon. These are literally just coming in.
Update3: 008 specs added below.
Update4: additional preliminary US pricing from the distributor:
002R 12 voice retail $2995. shipping in 2 - 4 weeks
002R 8 voice retail $2595. shipping in 2 - 4 weeks
001 retail $1995. shipping in 30 - 60 days
008 retail $5495. shipping summer 2015
Update5: 008 press release added below.
Update6: more pics added.

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Roland's AIRA Officially Unveiled - Massive Pic Gallery, Details, Videos

AIRA — Artists make first contact with AIRA

Published on Feb 13, 2014 RolandChannel·835 videos

"Groundbreaking artists talk about their experiences with Roland instruments and make first contact with the AIRA gear. Artists appearing are: Arthur Baker, Ricardo Villalobos, A Guy Called Gerald, Rain Man, Netsky, Oscar Burnside, Boys Noize, Dr Meaker, Hardfloor, John Heckle, Hisashi Saito, and Akkord."

This post might take a bit to load. :)

Update3: You can find a write-up on Novamusik here.

Update2: You can find comments and discussion on this post on The MATRIXSYNTH Lounge here. I also added a page break for this post on the main site so it doesn't slow the site down for new posts. Click the "Click for more" link to get to the full post.

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NDVR Note - One could say it is Polyphonic Aftertouch 2.0

Published on Jul 5, 2013 TheNDVR·1 video

"NDVR Note Keyboard-Series:

It is a USB MIDI Master-Keyboard, complete with 25 or 49 analog keys that respond based on how deep they are pressed. This is a concept we call "Key-Swing" -- One could say its "Polyphonic Aftertouch 2.0"!

http://igg.me/at/ndvrnote"

"WHAT IS THE NOTE?

It is a USB MIDI Master-Keyboard, complete with 25 or 49 analog keys that respond based on how deep they are pressed. This is a concept we call "Key-Swing" –

One could say its "Polyphonic Aftertouch 2.0"!

BACKGROUND

In our era, digital music production is synonymous with the use of virtual instruments. For every real instrument, a broad range of manufacturers offer a plethora of virtual software plug-ins.

They all have one thing in common. The various sounds they make are usually the product of a digital keyboard. And while this may be all well and good when it comes to simulating keyboard instruments, going further to configure the tone of each individual sound is a leap too far for them.

Give it a go – try selectively adjusting the individual tone of the notes of a chord played on a keyboard. You’ll struggle to find any solution other than post-processing. The normal aids – “Modwheel”, “Pitchwheel” or other rotary encoders – tend to alter across the board all the notes that are played.

Moreover, in theory, virtual instruments paired with modern computer technology should have even greater sound potential than their real-life peers. But this potential can be exploited only when the right input devices are chosen. If it’s a matter of which input device, in our opinion you should look no further than the keyboard. It has already proven its worth over the centuries, and the universal key arrangement makes it the optimal choice to accompany virtually any other instrument.

To meet these growing requirements, though, the features of a keyboard have to be adapted to the keyboard’s role, which has changed over the years. No longer is it a mere instrument for keys – it has evolved into a universal input device for various virtual instruments.

At NDVR - that is precisely what we do. Started by a revolutionary idea, we started developing our first master keyboard, the evo, back in 2010. The concept was simple: to use the extensive surface of each key as an input by turning the keys into a sort of touch-screen arrangement using a capacitive sensor.

The end-result was a game changer. Via simple surface touch gestures, the tone of individual notes can be influenced, independently of the others – and at any time. No matter whether before, after or while a note or key was played.

Inspired by its success and the abundant feedback, we started work on a successor a few months ago. This time we focused on completely different aspects during the development. That development is now over and we are proud to announce a new generation of digital master keyboards. The Note, as we call it, is more than simply an enhancement. It is an exceptional and unprecedented keyboard.

WHAT MAKES IT SO SPECIAL?

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Syntar on a Bar Napkin

via David Lovelace on Facebook

"You've gotta love this one! George C Mattson (inventor of the Syntar, and therefore the keytar) came back for more with a generous donation, and got himself a deluxe Anything Napkin. You too can enjoy priceless, custom-drawn embarrassment like this for a mere five bucks (and up). AnythingNapkin.com"

Roland TB-303 Devil Fish w/ MIDI in Aluminum Case

via this auction

"Serial #178, Version v.4.0B

In December 2003 I purchased my very first TB-303 via Peter Forrest’s VEMIA auction, it was immaculate and functionality perfect. In the next couple of years I purchased several TB’s, but it was clear that the first was the nicest, and so, in 2005, I sent it off to Robin Whittle to undergo the Devil Fish treatment.

In a stroke of luck, I happened to be lucky enough to acquire one of the revered and totally gorgeous alu cases that Martin Rothlisberger designed in his spare time and sent this to Australia so that Robin could built the Devilfish into it.

The fitment into the case is a very tricky affair, they are carved from solid blocks of aluminium by a computer, and thus super accurate; the problem lies in the TB itself, which hailing from the 80’s is not so accurate! Some of the potentiometer positions can subtly vary, and there are other pitfalls, for example the wires can get pinched in different places. This TB has been fitted to the highest standards possible. There are crazy aspects to it, like 2 by 2 carbon fibre washers, an even larger capacity lithium battery than the one Robin uses as stock for the bank memory back up and the rear of the case attaches via precision machined titanium bolts. It’s a functioning piece of design / art.

Robin strikes me as the classic genius engineer and in implementing the modification, I guess his priority is in making sure everything works, not necessarily whether it looks beautiful. As a result, I have expertly implemented a host of cosmetic amendments myself to make things like the LED’s shine more attractively, the knobs sit at a comfortable height and, perhaps most practically, I have implemented a delightfully simple but important idea that buffers the main PCB board, in the event that the machine ever falls face flat, which due to the design by Roland, does leave the machine quite susceptible to a cracked PCB. Some of the ideas I have shared with Robin (to his interest!), others I have not as yet, but I suspect he and other TB enthusiasts would find them interesting, if not a touch obsessive :-)

As the numerous pedantic personal touches might indicate, I never foresaw parting with this machine, but am contemplating it primarily for two reasons, I have another Devil Fish (non MIDI version) so I wouldn’t miss this one all that much, principally I am interested to acquire something entirely different for my studio, which would entail raising the necessary funds.

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Clef Master Rhythm — Programmable Analogue Drum Machine

YouTube via julianjordan | February 26, 2010

"Here's a quick lesson in how to step-program a clef master rhythm"


via this auction

"Main Features
* Completely analogue sound generation
* 7 Instruments + Accent (Bass Drum, Low / High Tom, Snare, Rim Shot, Long / Short Cymbal)
* 3 Variations for Snare sound
* Adjustable parameters for each instrument (via trim-pots on the bottom)
* Analogue Low Pass Filter (Tone knob)
* Fully programmable via internal Step Sequencer
* Moog Style Knobs :)

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JH Triple Chorus Sring Ensemble

via JH on AH:
"many of you have shown interest in my PCB project to emulate the string ensemble effect of Solina, Crumar, and other similar keyboards. I have finished the prototype and have put up some sound samples.

Setup for demos: OB-8 (mostly set to a boring single-oscillator, unmodulated sound) -> JH Triple Chorus / String Ensemble Effect -> Reverb (String Ensemble Effect is sometimes bypassed to show the dry sound.)

Plain and simple string sound (1.1 MB mp3)
I start with a dry sound just to show you how much the Ensemble Effect is altering it, and I switch back to the dry sound towards the end for the same reason.

Enhancing a bell sound (740 kB mp3)
I think the effect is interesting for other sounds than just mere strings, as well.

Chorale sound (equalized ensemble effect) (470 kB mp3)
I wouldn't sell this as a specialized choir effect device, but it's certainly an alternative to the straight Solina-like stuff.
All done with the on-board 3-band Equalizer (which was inspired by the Crumar Performer).

Stereo effect using individual outputs (390 kB mp3)
Yes, we can do Stereo, with the individual outputs.
My first thought was to take the 3 individual outputs and mix them, one panned left, one center, and one right. But then the "Ensemble" effect falls apart, and the modulation sounds overly strong. I think you can do a lot of experiments with mixing the individual outputs, and will find interesting configurations.
The above sound sample was made with a very simple setup, however:
The full mix (main output) goes to one channel, and one individual channel goes to the other. The two channels are then panned almost (but not totally) left and right on the mixing desk.

Playing around with the EQ section (1.5 MB mp3)
Just some aimless turning of the 3 potentiometers in the EQ section, while my OB-8 arpeggiates away. I obviously change the OB-8 sound to something percussive towards the end, and I also adjust the OB-8's filter envelope setting slightly for the percussive sound, but I think it's quite clear what comes from the OB-8 and what comes from the Crumar-like 3-Band EQ.

Adjusting the waveform pot to find the "sweet spot" (790 kB mp3)
What is "the Solina Sound"? I think without any modulation waveform clipping (like the sound sample starts; please also see the discussion of this topic above!), is a tad overly lush for a solina. Or maybe it isn't. During this sound sample, I chance the modulation waveform from no clipping to almost totally clipped and back, and I think the "Solina sound" is where the waveform is just ever so slightly clipped.
This soft clipping (the "waveform" trimpot on the board) is different from a simple attenuation of the modulation CV. It's possible to attenuate (or to
boost) the modulation CV, too, by changing 3 resistors on the board, if you want to make further experiments.

More information, and pictures of the prototype, here.

JH."