"61-Key Analog Synthesiser designed by the one and only Dave Smith & arguably the most iconic poly-synth of all time; the Prophet 5 offers up 5 voices each with 2 VCO's, a low pass VCF, a VCA, two EG's, one LFO with multiple wave shapes available. With patch memory, the Prophet 5 was arguably the most forward thinking synthesiser on the market back in 1977. Made in USA. Fully serviced prior to sale.
In excellent condition with all wood panelling just like it left the factory. An excellent example of a very clean Prophet 5 from the golden age of analog synthesis."
"Alesis HR-16 (circuit bent) running through a @zerosum_inertia CENOTAPH. Medium-Slow triangle LFO going to the CV input of the CENOTAPH. Drums dry on the right channel, CENOTAPH in the left channel.
The Cenotaph is device meant for processing modular level audio signals.
Line level or guitar level signals will work but need to be fed into a signal amplifier to get signal to modular levels before entering Cenotaph.
If low level signals are used the results will sound like a bit crusher and be less stable and predictable which sometimes sounds cool,
but overall it is recommended to stick with modular level signals like VCO waveforms straight out of the VCO.
The audio signal is fed into two 6CB6 pentodes then into a 4046 PLL and 4013 Divider.
Switchcraft 1/4” jacks and NOS military surplus tubes used.
Hand wired and through hole assembly, PCB manufacturing, enclosure drilling and metal work all done in USA.
For most stable results the left knob should be full clockwise/pointing to the right when third/right switch is in UP position. If center switch is in UP position then it doesn’t matter where left knob position is.
It is recommended to start with all 3 knobs in full clockwise position and all switches down.
Left knob controlls PLL level.
Left switch controls PLL behavior mode.
Center knob controls PLL frequency.
Center switch routes PLL INTO divider when up,
PLL and Divider are in parallel when center switch is down.
Right knob controls divider level.
Right switch selects divide down by 4 when down, divide by 2 when up.
Only use 12V DC Center positive + power source providing at least 1500 mA.
"Here's a 2-minute collection of short demos using the SynQuaNon Eurorack analog
polyphonic effects modules:
0:00 Hexaphonic AutoWah Filter with pedal control
0:29 Hexaphonic Funky AutoWah Filter with Hexaphonic Fuzz
1:01 Hexaphonic VCA Sequencer-controlled Arpeggios
1:34 Hexaphonic VCF Sequencer-controlled Arpeggios with Hexaphonic Fuzz
1:46 Hexaphonic VCF and VCA controlled in tandem by Sequencer
Did you notice that the SynQuaNon modules have virtually no patch cables
connected and yet are in the audio chain? That's because they are interconnected
at the back of the modules using SynQuaNon hexaphonic Audio and CV bus cables!
This allows for a clutter-free front panel for easy user access and control
adjustment - for more information, see the SynQuaNon Blog:
Roland/BOSS GK guitar interface for hexaphonic or polyphonic processing
Overview: The 13-Pin Input Breakout module receives signals from a Roland GK-3 compatible guitar and converts them to modular levels using low-noise audio op-amps. Gain options include 10x (20dB), 30x (30dB), or 100x (40dB). Gain controls allow you to adjust the gain from zero to full-scale in the amplified string outputs. Amplifier boards are easily replaceable with different gain versions. Check the shop for replacement boards. The module provides power to the electronics in your GK-3 compatible guitar. Hand-assembled in the USA. Important Note: This module has been tested successfully with Roland GK-3, GK-2A, Graph Tech Hexpander, and RMC Poly-Drive pickup systems. Roland GK-2A pickups (including those on the Fender GC-1) require a special version of this module. Please indicate if you intend to use a Roland-ready or GC-1 Stratocaster with this module at the time of your order and we will supply the special version.
Features: Outputs for each signal in the 13-pin GK-3 interface (audio/CV). Access to direct signals from each string and the passive pickup. Selectable gain range (1x or 10x, 30x, 100x) for each string and the passive pickup output on back of the module. Adjustable gain or attenuation to zero within each selected gain range. Metal film resistors for close channel gain matching. Pairs well with 13-Pin Output Breakout , Hex VU Meter, Hex Fuzz, Hex VCF, Hex VCA, and Hex EF-Gate-Trigger. Ideal for guitar multi-channel, single-string, or hexaphonic effects processing.
Videos posted here and here. Priced at £23,500.00 GBP [roughly $29,586.85] (excluding VAT and delivery).
New press release with additional details:
Analogue Solutions sheds some pounds from original Colossus super-synth, creating Colossus AS200 Slim ‘space-saving’ version
SHATTERFORD, UK: having spiritedly (and successfully) reimagined what an analogue super-synth could contemporarily become with the 2019-premiered, premium 12-VCO (Voltage-Controlled Oscillator) original Colossus taking its inspirational design cues from the colossal classic personified by the rarefied Seventies-vintage Synthi 100, bravely built by British trailblazing entity EMS (Electronic Music Studios) as one of the largest (and most expensive) examples ever birthed by anyone anywhere, British boutique electronic instruments innovator Analogue Solutions is proud to announce that it is accepting orders for Colossus AS200 Slim — shedding some pounds as a ‘space-saving’ version of its now-named Colossus AS100 Classic predecessor, pitched as being a perfect fit for those with a little less studio space to spare or more restricted access for installation, yet compromising very little to achieve a 53% reduction in its footprint depth to a comparatively slimline 330 mm measurement as well as an associated 33 lb (15 kg) weight loss (and comparative £3,000.00 GBP price tag drop) in doing so, but beautifully designed, nonetheless, to elegantly stack on top of a Colossus AS100 Classic to form a dreamlike ‘double-height’ Colossus Double system, the likes of which has to be seen (and heard) to be believed — as of April 26…
As a ‘space-saving’ version of its Colossus AS100 Classic super-synth sibling, the comparatively slimline Colossus AS200 Slim’s so-called ‘VCO Panel’ is identical, including no fewer than 12 VCOs (OSCILLATOR 1 through to OSCILLATOR 12), each boasting high-quality multi-turn vernier dials acting as a very high FREQ (pitch) range control that also allow them to be pressed into service as additional LFOs (Low Frequency Oscillators), a four (sawtooth, reverse sawtooth, square, and triangle) WAVEFORM count, PULSE SHAPE (allowing the pulse width of the square wave to be manually changed), and (output) LEVEL controls; associated VOLTAGE CONTROLLED OSCILLATORS jack points include pitch CV (control voltage), SYNC in, and audio OUT for each VCO, while odd-numbered VCOs have SUB (sub- oscillator) outputs and even-numbered VCOs have PW (pulse width) CV inputs. In addition, NOISE GENERATOR 1 and NOISE GENERATOR 2 each have a pink and white noise-mixing COLOUR control and an associated output LEVEL control, complimented by a RANDOM VOLTAGE GENERATOR with RATE and LEVEL controls alongside a SAMPLE AND HOLD generator with SOURCE and LEVEL controls for further flexibility.
Design differences — albeit, admittedly, of a purely visual functional nature — between the two super-synth siblings’ so-called ‘VCO Panel’ are apparent as Colossus AS200 Slim ships with a two-channel LCD (Liquid Crystal Display) oscilloscope as standard, so it is clearly capable of displaying two waveforms at once, although a CRT (Cathode Ray Tube) oscilloscope is available as an option (for an additional £500.00 GBP, excluding VAT). Thereafter, this panel’s two triangle and square wave- featuring LFOs (LFO 1 and LFO 2), four discrete VCAs (VCA 1 through to VCA 4) — used to change the level of audio and CV signals, and four A(D)SR envelope shapers (ENVELOPE 1 through to ENVELOPE 4) are implemented identically.
Implementation of Analogue Solutions’ next-to-no-compromise Colossus AS200 Slim design involved no changes being made to its well-stocked so-called ‘VCF Panel’ central to its colossal sound — where FILTER 1 through to FILTER 4 are a 12dB multimode VCF (Voltage-Controlled Filter) design while FILTER 5 through to FILTER 8 are a 24dB low-pass design, all sitting comfortably with four ADSR envelope generators (ENVELOPE GENERATOR 1 through to ENVELOPE GENERATOR 4) each with three trigger modes, as well as two spring reverbs (REVERBERATION 1 and REVERBERATION 2) with three real mechanical springs each, two RING MODULATORS, and two SLEW LIMITERS — and so-called ‘Sequencer Panel’ — itself featuring four backlit moving-coil SIGNAL METERS together with a 64-step CV/Gate SEQUENCER capable of operating in four different playback modes.
Achieving a 53% reduction in Colossus AS200 Slim’s footprint depth to a comparatively slimline 330 mm to accommodate more restricted access for installation in comparison to the 700 mm depth allowed by the Colossus AS100 Classic — tilting the latter by 45 degrees effectively reduces that dimension diagonally to around 620 mm, however, which may well help with gaining access through unusually narrow doorways — meant making some design changes; at 750 mm in height, Colossus AS200 Slim is a little taller than the 655 mm-high Colossus AS100 Classic, therefore takes some of the features found in the Colossus AS100 Classic’s horizontal console and flips them vertically into one orientation. On the face of it, then, this inevitably involved some small compromises — not least that, though fully independent (as they are not internally wired to anything), Colossus AS200 Slim’s two vertically-mounted broadcast-quality 31 x 15 ANALOGUE PIN MATRIX ROUTING panels are somewhat smaller than those horizontally mounted in the Colossus AS100 Classic, while the latter’s two TOUCH KEYBOARD CONTROL / SEQUENCERS dominating its horizontally-mounted so-called ‘Touch Panel’ have had to be forsaken entirely in favour of a new vertically-mounted ‘Mixer Panel’ incorporating a 10- input stereo mixer, two fixed sub-mixers, and two joystick controllers. As a result, Colossus AS200 Slim actually provides more mixer inputs than Colossus AS100 Classic, which is no bad thing. That said, Colossus AS200 Slim’s four so-called ‘Jack Socket Patch Panels’ providing I/O from all circuits are the same as those implemented in Colossus AS100 Classic — other than now being vertically orientated, of course.
Clearly when it comes to Analogue Solutions’ spirited Colossus concept, there are now choices to be had. Having said that, those lucky enough not to be in a constrained financial position necessitating making a choice between buying a Colossus AS100 Classic or Colossus AS200 Slim could always consider taking the Colossus Double stairway to (analogue) heaven; after all, Colossus AS200 Slim has been beautifully designed to elegantly stack on top of a Colossus AS100 Classic to form a dreamlike ‘double-height’ Colossus Double system, the likes of which has to be seen (and heard) to be believed! Bearing in mind that a Colossus Double system ships as two separate units, at least two people are needed to lift a Colossus AS200 Slim on top of a Colossus AS100 Classic, with a third person highly recommended for moral support! The two super-synths concerned are safely secured together thanks to a selection of (provided) bolts to form one rigid unit. Ultimately, a Colossus Double system is as awe-inspiring to stand and look at as it is to play with.
Whatever way anyone might choose to approach achieving awe-inspiring Colossus Double system status — given that a Colossus AS200 Slim, of course, can be added to a Colossus AS100 Classic at a later date, it is incontrovertibly so much more than a powerful analogue ‘workstation’ with 100%-analogue voice and modulation circuits that steer well clear of MIDI and USB; it is also art and architecture incarnate, incorporating beautifully engraved wood cabinetry creating exquisite studio furniture in itself! After all, high-quality constructed synthesisers such as these only come around once in a decade — or, possibly, a generation!
Colossus AS200 Slim is available to order, priced at £23,500.00 GBP (excluding VAT and delivery) — directly from Analogue Solutions here: https://www.colossus-synth.com/buy — with delivery direct to the customer, complete with a selection of patch pins, 3.5 mm ‘mini-jack’ patch cables, and a IEC mains cable. Current delivery time is around two to three months after receipt of a £7,000.00 GBP deposit (excluding VAT and delivery) — payable to Analogue Solutions here: https://www.analoguesolutions.com/colossus-1 — with balance and shipping costs required shortly before despatch, though waiting will decrease down to around two weeks once Analogue Solutions has handled initial demand. (Should shipping be required, packing in a large wooden crate — can be completely ‘flat-packed’ for safe storage, should the customer wish to do so — is £320.00 GBP, with delivery by truck to most European countries estimated to be in the range of £300.00 GBP to £500.00 GBP and air freight to the USA estimated to be in the range of £1,700.00 GBP to £2,500.00 GBP.)
For more in-depth information (including variants, images, video, upgrades, support, and more), please visit the dedicated Colossus website here: https://www.colossus-synth.com/colossus
"Founded on Modal Electronics’ next-generation COBALT synth architecture and housed in an ultra-portable go-anywhere footprint, the USB-powered COBALT5S is made-to-move and ready to spark your creativity wherever, and whenever inspiration strikes. Whether it’s a singularly authentic replication of classic analogue sounds, or the most contemporary leading-edge texture, COBALT5S’ extended virtual analogue sound engine delivers on all counts.
COBALT5S takes inspiration from the iconic sound of it’s analogue forebears, transcending any and all limitations to take a leading edge synth architecture, truly mobile – from sultry basslines, to expansive, mutating beds and everywhere in between, COBALT5S is not just modeling run-of-the-mill analogue sounds, this is Beyond Analogue, Anywhere."
COBALT5S Introduction
Kraft Music: Modal Electronics Cobalt 5S - All Playing, No Talking!
"https://bit.ly/3vHgNi3 - Grab one today & check out more about the Cobalt 5son our blog Signal
We're taking a look at our new favorite "walkin' around synth" the Cobalt 5s !
This virtual analog monster packs the same punch as it's larger siblings in a much smaller and portable package!
Join our pals Jacob and Brian as they explore some sounds and the universe with this fantastic new synthesizer"
Starsky Carr: COBALT5s // Testing Modal's Metal // Review, Demo and Walkthrough
"A demo, review and walkthrough of Modal's latest release, the Cobalt5S. Its a great sounding little synth - sounds like its big brother/sister - but a reduced voice count an a couple less features, but not that you'd notice it sounds fantastic. The Oscillator groups are inspired.
0:00 what is it? 3:43 building the intro track 7:59 Navigating the Interface 12:09 setting up mod slots 14:12 what’s an oscillator group 21:12 filter 29:11 Effects 31:52 Arp & Seq 34:32 Envelopes 36:11 vs prophet 5 37:55 final thoughts 39:40 some sounds
Sonicstate: Modal Cobalt5S - New 5 Voice DSP Synth - Sonic LAB Review
"Modal today released another in the Cobalt range - the Cobalt 5S. This is a five voice version of the all DSP Cobalt engine with the same oscillator section using the Extended VA engine, modelled 24dB Ladder Filter, three Envelopes, 2 LFOs (reduced from 3), twin fixed FX (chorus and delay) and Sequencer and Arpeggiator.
We've uploaded a few patches as Decent Sampler (free plug-in) format to our Patreon: https://www.patreon.com/posts/63217454
#soniclab #modal #cobalt5S
00:00 Intro and overview
4:04 Sounds and UI
7:45 Mod slots
8:20 Osc + Filter
10:30 more sounds
12:08 LFOs and Envelopes
14:00 Editor
15:55 XY pad
16:45 Wrap"
"Demo of 10 factory patches from the new Modal Electronics Cobalt 5s
0:00 Analog Breeze
0:42 Geometrip
1:27 TetherBall
2:09 Pushing Tin
2:35 BroCannons
3:26 Scatter Square
4:29 Stay Gold 5ths
5:04 Easy Street
5:54 Chameleon
6:24 Neon Factor"
And the press release followed by detailed pics:
MODAL ELECTRONICS ANNOUNCES THE COBALT5S EMPOWERING USERS WITH UNRIVALLED SOUND SCULPTING CAPABILITY, ANYWHERE
– Five-voice go-anywhere synthesiser powered by an Extended Virtual Analogue synthesis engine, a proprietary morphable 4-Pole Ladder Filter, MPE support and much more – Bristol, UK - 1st March 2022. Modal Electronics, a leading global synthesiser manufacturer, has just announced a new addition to the critically acclaimed COBALT Series, the COBALT5S. Fusing Modal Electronics’ next-generation COBALT synth architecture and housed in an ultra-portable go-anywhere footprint, the USB-powered COBALT5S is made-to-move and ready to spark user’s creativity wherever, and whenever inspiration strikes
Supercharge any performance with COBALT5S’ built-in MPE support, 16 quick-access smooth rotary switch encoders, a premium 37-note compact-key keybed with aftertouch and an ultra-responsive X/Y/Z Touchpad for pitch bend, mod wheel and/or modulation assignments. Rounding out the control arsenal is a comprehensive realtime/step sequencer with four animation lanes alongside a built-in programmable arpeggiator. Like all Modal synthesisers, COBALT5S is fully compatible with the free MODALapp, the gateway to effortless editing and preset management available on Mac,Windows PC or mobile devices including iOS/Android smartphones and tablets.
The Create Anywhere Philosophy
Taking the legendary build quality synonymous with Modal Electronics’ synthesiser roster, and outfitting this with a 37-note compact-key keybed with aftertouch, COBALT5S is primed for user’s creative exploits wherever and wherever creativity strikes. Plus, with a USB powered specification, powering the COBALT5S from a Mac/PC or portable power brick couldn’t be simpler.
The Engine
Featuring five true polyphonic voices, two independent algorithm groups and up to 8 oscillators per voice, musicians, sound designers and producers are armed with a nefarious palette of sound that’s primed for any application. Fuse this with 40 complex algorithms, including Sync, Ring Modulation, Waveform Morphng, plus many more, and it’s easy to see why COBALT5S empowers creators with liberated sound sculpting capability without limitation.
Next-Generation Filter
Featuring the same self-oscillating 4-Pole Morphable Ladder Filter from the COBALT8, COBALT5S guarantees to texture the user’s sound with all the bite and warmth their performance demands. Four separate filter modes fuse with mainstay controls for Cutoff and Resonance, alongside a Morph parameter to musically manipulate the frequency response of the filter for a truly immersive experience
Shape Your Sound
With COBALT5S, everything the modern creator demands to craft the perfect sound in meticulous detail is thoughtfully included. Three envelopes complete with selectable types take command of the filter, amp or modulation destinations, furnishing users with unrestricted options when it comes to fine-tuning their sound. One Polyphonic LFO and one Global LFO provide extended power to control a plethora of modulation sources, selected via a sophisticated 8-slot modulation matrix.
Supercharged Performances
Fuse a 512-note realtime/step-sequencer, complete with 4 animation lanes, with a built-in programmable 32-step advanced arpeggiator and you start to scratch the surface of the performance capability COBALT5S heralds for the modern creator. Add to this MPE support for next generation creative expressions via a compatible MPE controller and COBALT5S is primed for any performance, production or sound design scenario imaginable.
MODALapp
The free MODALapp brings the comfort of screen-based editing on your computer or mobile device. Available as a standalone app for macOS, Windows, iOS, iPadOS or Android systems and in VST3 and AU plug-in formats, it is the perfect companion for synth enthusiasts looking to deep dive to all sound editing and performance parameters. Crafting the perfect sound, library backups and managing your patches & sequences couldn’t be simpler.
COBALT5S can pre-ordered via our wide network of authorised Modal retailers globally with an MSRP of $449 /€449/£379, with estimated shipping within the next 2 weeks.
"Here we have a RARE Oberheim OB-SX synth made in 1982/USA (sourced from New Jersey, July 2021). It was the second model in the OB range, slotted in-between the OB-X and the OB-Xa. This one is 4-voice polyphonic and has 56 programs on board. The model was introduced by Oberheim, tailored for live use. At the time, the OB-X was well expensive, so this was marketed at an attractive lower price. Its a wee bit smaller than the other OB models, measuring just 87 x 50 x 12 cms...weighing around 16 Kgs. The remit was "bring out a compact performance synth with THE best Oberheim sounds on board". Much of the same circuitry (80%?) as the OB-X was used to produce the distinctive polyphonic sounds. OB-SX is loaded with 56 presets, basically; but every sound can be "shaped" to some degree (eg adjusting the Filter Frequency control/detune of VCO 2). The left panel is always "live". There is a video on YouTube of me (KKGB/Doug McKendrick) playing an earlier OB-SX. You can hear some of the fat (phat) sounds and some rubbish playing at the same time. Lucky you! Hit YouTube and simply enter "OB-SX"......."
The only one I found with "McKendrick" is the following from Sue McKendrick on the previous grey faced model.
The following are a few demos of a blue striped model from Pete Moulton that I found, including a run through the presets:
"Introduction to the OB-SX, a very underated synth that is a hybrid between the OB-X and OB-Xa. The OB-SX shares the voice architecture of the OB-X, but uses the discreet CEM chips later found on the OB-Xa. The OB-SX first appeared in 1980 as a preset/variable version of the OB-X.
A short demo demo of the brass sounds from A1, B1 and C1, using the variable controls. If the sounds in your OB-SX are different to mine, you could have a rare machine, as OB-X users could send in a tape of their favourite sounds to be burned into the OB-SX EPROMs. Also mine will have slightly different tunnings and voice calibrations to yours."
Playlist:
1. Oberheim OB-SX Part 1 (description above)
2. Oberheim OB-SX Part 2
Using only the A1 Brass Ensemble program as a starting point and the 7 variable controls on the front panel, a variety of sounds can be coaxed out of the OB-SX with considerable ease. The OB-SX might be your best bet it you cannot get your hands on an OB-Xa or OB-X.
SHOW LESS
3. Oberheim OB-SX Bank A Sounds
"Here I demo the 8 sounds from Bank A on the OB-SX.
A1 - Brass Ensemble A2 - Clavinet A3 - Low Strings A4 - Electric Piano A5 - Percussive Organ A6 - Flutes A7 - Harpsichord A8 - Lead Sync
There may only be 7 controls on this "Poor man's OB-Xa" but you can tweak out some great sounds as this video demonstrates:
"In this video, we take a look at how to combine the powerful Arpeggiator and Sequencer on the Modal Electronics Argon8 and Cobalt8 Series Synthesizers. Using the Gate Transpose mode, we can use the Arp to drive the Sequencer and easily create more dynamic, complex, and generative melodies.
Timecodes:
0:00 Opening Arp Sequence Melody
1:26 Welcome
3:38 Building Arps from Scratch
5:02 Turning Arps into Sequences
6:39 The Gate Transpose Mode
8:15 Using the Arp to Drive the Sequencer
11:00 DAW Integration Options
14:36 Closing Arp Sequence Melody
"In this video, we take a look at the Animation Lane feature on the Modal Electronics Argon8 and Cobalt8 Series Synthesizers. Animation Lanes are a powerful tool to easily help enhance and manipulate all of your patches."
"A collection of sounds from the New Factory patches from the Argon8 Series! We figured it was time to show off these new sounds, so we had our good friend and session keyboard player Matt Meixner come into the VCO studio to pick some favorites."
"In this video I will show some cool patches with SH5-VCF Dual Filter.
As per usual, listening w/ headphones or quality monitors is the best audio experience.
Watch your levels, this is a filter demo w/ some resonance ahead.
Check my Reverb store for SH5-VCF, 101-VCO, 2xVCA, 2xADSR availability
Currently I only sell exclusively on Reverb, I hope one day to sell in stores outside the USA.
SH5-VCF is an all analog Eurorack adaptation of the Roland SH-5 mixer and Dual Filter. There are no filters-on-a-chip here. The SH5-VCF uses all discrete components and quality op-amps to work its special mojo. Like on the original, the Low Pass circuit is comprised of open-collector matched transistor pairs arranged in a diode ladder configuration. The lack of temperature compensation was also respected, so while the resonance can self-oscillate the v/oct keyboard tracking is about 3 octaves at best. This same configuration used in the Roland SH-1000 and the earlier System 100 (not 100m).
The Dual Filters: VCF + BPF | VCF | The VCF (Voltage Controlled Filter) comprises one HP (High Pass) and one LP (Low Pass) circuit in series. VCF Select switch can choose 1) HP, 2) LP, or 3) BP (Band-Pass) configuration. Due to the unique design, the HP resonance is actually derived by overdriving the LP circuit. | BPF | The dedicated BPF (Band Pass Filter) has its own discrete circuit distinct and apart from the VCF. The original BPF circuit has been respected, but greatly expanded upon using a proprietary voltage controlled feedback path to enable frequency control via external signals. This feature wasn’t available on the original design. The original did not have a buffered output jack for the BPF neither, as the SH5-VCF does. The BPF Level attenuator will affect the main output only.
The MIXER There are four audio signal inputs, each with its own fader pot and filter routing switch. Each routing switch can send each audio line to either VCF, BPF, or both VCF + BPF.
The 3 CV MODULATIONS – Choose Wisely Incoming CV signals can be used to modulate any filter frequency cutoff. Signals can be up to +/- 10Vpp DC polar or AC bi-polar at the inputs. | CV1 | has inverting and non-inverting behavior where zero is at 12:00. | CV2 | has non-inverting behavior for both filters, and inverting available to VCF only | KB | is a non-inverting V/OCT Keyboard Tracking control available to both the VCF and BPF, typically a Keyboard Voltage – but can be any kind of polar or bi-polar signal.
A Eurorack power connection ribbon cable is included. To get the most out of the filter experience follow your filter with a VCA. The filters require startup voltages on the low end to avoid audible thump, so there will be sub-frequency audio seepage. A post-filter VCA (sold separately) is recommended to gate the filter. Be sure to check out the G-Storm Electro 2xVCA when available.
The SH5-VCF pairs well with (sold separately)… GSE 101-VCO + 101E output expander GSE 2xVCA GSE 2xADSR Xaoc Batumi Quad LFO
Specs Width | 16HP Depth | 35mm Weight | 6.3 oz Inputs | 4 audio, 3 control voltage Outputs | 1 main output, 1 BPF output CURRENT DEMANDS (measured) +12V: 48mA -12V: 48mA +5V: 0V *not used*"
"The Black BBD is one of a kind analogue delay module - it features two BBD lines - short 1024 stage, and long 4096 stage that work simultaneously and you can smoothly fade between those two thus creating distinct multi-tap effect. Furthermore, an advanced BBD clock noise cancellation circuit is implemented that reduces unwanted BBD noise without filtering higher frequencies of the audio signal.
Timeline:
00:00 Patch 1 "HATS" Pico Drum 2 hi-hat algorithm through BBD in short mode
01:02 Patch 2 "SNARES" Pico Drum 2 snare algorithm through BBD in long mode
02:51 Patch 3 "MULTI-TAP BEAT" Pico Drum through BBD in mixed tap mode
03:36 Patch 4 "FM RADIO 1" ADDAC FM radio through BBD
05:03 Patch 6 "STEREO DRUMMER" Pico Drums 2 with randomly selected algorithms send through two hard panned BBD's and modulated with Black Octasource
06:13 Patch 7 "EASY PADS" Sample Drum playing a pad sound through BBD in long mode
07:14 Patch 8 "DRUMBREAK" Sample Drum playing a breakbeat sample through BBD in short mode
09:02 Patch 9 "STEREO SYNTH" Pico Voice Fold algorithm sent through two hard panned BBD's
10:02 Patch 10 "FM RADIO 2" ADDAC FM radio through BBD
10:51 Patch 11 "LPG BLASTER" Black LPG in self oscillating setting sent through BBD which WET out is sent back into the BBD. everything is modulated by the Octasource in random mode
12:17 Patch 12 "FEEDBACKER" BBD pinged with pulsewave from the Black VCO 2"
"The Black BBD is one of a kind analogue delay module - it features two BBD lines - short 1024 stage, and long 4096 stage that work simultaneously and you can smoothly fade between those two thus creating distinct multi-tap effect. Furthermore, an advanced BBD clock noise cancellation circuit is implemented that reduces unwanted BBD noise without filtering higher frequencies of the audio signal. Most of parameters are voltage controlled, which allows to integrate the module in complex modular setups.
FEATURES: Full analogue design Two BBD lines (1024 and 4096 stages) Smooth crossfade between BBD lines Built in LFO CV control over Time, Feedback and Dry/Wet mix
"The new Leipzig V3 synthesizer has arrived for 2021.
Taking its cues from the legendary and distinctive Leipzig line of synthesizers, the V3 is truly 'evolutionary' and now features the same convenient footprint as our acclaimed Impulse Command desktop synthesizer - while capturing the same raw, ballsy, complexly rich sound as its Leipzig predecessors.
Version 3 combines features from both the Leipzig-SK as well as the mountable Leipzig v2, including patch points for additional sound design and connection possibilities. For example, you can drive the synth via an external CV sequencer or patch it to other modules in your Eurorack case.
This demo features a variety of sound samples (patched and unpatched, sequenced and unsequenced) from the Leipzig V3. Watch this space for more videos and visit our website for more detailed information."
Analog Solutions Leipzig v3 Introduction
video by VCO USA
I almost skipped posting this as the only news here is there's a 4th production run of the Colossus. I guess it's interesting knowing how many are out there. What's also interesting is I always assumed the Colossus was either built in a limited initial run, or it was built per order only. This is a mammoth endeaver and each one costs 25,000 GBP which comes out to $35,000 US. It is $4500 less than this little Sennheiser VSM201 Vocoder!
Press release follows:
""Analogue Solutions announces forthcoming fourth run of Colossus supersized synth that trips back to the future of analogue
KINGSWINFORD, UK: following a showstopping showcase during its introduction at SynthFest UK 2019 in Sheffield, British boutique electronic instruments innovator Analogue Solutions is proud to announce a forthcoming fourth run of Colossus — its supersized synth that trips back to the future of analogue, albeit symbolising so much more than a powerful analogue ‘workstation’ with no fewer than 12 VCOs (Voltage-Controlled Oscillators) beating at its monumental musical heart, rather representing art, architecture, and superlative studio furniture at its hand-built best by taking its design cues from the colossal classic that is the EMS Synthi 100, although no Synthi circuit was cloned or copied in making the destined-to-be-classic Colossus fit for a new generation of high-flying owners — as of February 15…
