Valmont - Sequential Circuits Prophet 2000 (1985) : Novembre

video upload by Valmont

"Impersonation of a Prophet 600... on a handful of kilobytes
Featuring a 1985 Sequential Circuits Prophet 2000 and some more stuff

The Prophet 2000 is a 12 bits sampler with analog VCF/VCA (CEM3379)"

Valmont - SaintClavier & Arp Axxe : Contrejour

video upload by Valmont

"Lead : Modified Arp Axxe (for sale)
Bass : SaintClavier (my modular keyboard)

The SaintClavier patch includes :
MachineRoom Trilobite VCO, GStorm Electro Tonus VCF MkIII, Behringer 130 VCA, Intellijel Designs Dual ADSR, MusicThing Modular MiniDrive, Rides In The Storm TUL, Doepfer A145-4 LFO, Feedback Pre BX"

Unknown territories on Prophet 600

video upload by Valmont

"contemplating unreal stuff happening inside the prophet
this is stereo
and almost raw

https://www.instagram.com/valmont_nau...

0:00 in
0:20 dissociation
1:03 waters
1:27 tonus 1
2:08 tonus 2
2:34 apoptosis
2:47 spread 1
3:10 spread 2
3:42 spread 3
4:20 cesium
5:03 tonus 3
5:15 cosmos
5:30 it
5:45 tonus 4
6:02 awareness"

Analog Chimera : ½ ARP + ½ Moog (MachineRoom Trilobite)

video upload by Valmont

"Unconcise demo of a Trilobite triple VCO (Moog 204D) processed by an og ARP Axxe mkII (in mkI cabinet), with that often neglected 4075 VCF... which does sound exceptionally well?! This ARP is considered for sale though :) For the FM patches I plugged one of the VCOs output into the FM in of one other. And the retrig mode it's the Arp Repeat switch enabled!

0:00 - raw audio ahead
0:12 - solid PW 1
0:23 - solid PW 2
0:34 - soft 1
0:46 - soft 2
0:57 - arp PW
1:16 - soft 3
1:30 - arp triangles
1:41 - arp sawtooths
1:57 - arp FM 1
2:13 - arp FM 2
2:29 - arp FM 3
2:50 - HFO FM
3:23 - overdriven VCF

Sorry for the weird video edit with those scopes surrounding the Arp, I had a terrible mess around which I didn't consider until I finished the video... Too late ha, I only found that way to hide it x))"

via MachineRoom

"TRILOBITE is a triple saw-core oscillator analogue module inspired by the original Moog schematics and made with thru-hole components only

The module features:

– 4 octave ranges

– 3 waveforms (triangle, square, saw),

– UNISON (FINE) control with a range of +/- 12 semi-tones

– Independent LIN FM and PWM inputs with attenuators

– White noise source

Independent audio output is provided for each oscillator. A mixed output is also present featuring a level control.

We are recommend to use independent audio outputs to avoid distortion, in this case MiX output works as WHITE NOISE source with attenuator.

V/oct input of the first oscillator is normalled to all 3 oscillators, so OSC2 and OSC3 would track it too, however, connecting other signals to the other V/oct inputs make each input independent.

CLICK FOR MORE »

Yamaha DX7-IID : unstable feedback

video upload by Valmont

"It's the association between the DX7-IID and the Ibanez UE-405 echo that creates this flanged tube-chime effect, which sometimes kicks in depending on the notes I played. The DX7 plays a simple sawtooth-like bass, nothing weird. An unstable combination, hard to catch though!

The kick is driven by a modified Altai Analog Echo System (the weird thing sitting on the DX7-IID)
The snare goes into a 1979 Roland SIP-301 & then is sent to a 1985 Alesis XTC Reverb. The hi-hats go in the SIP too but not through the XTC loop.

More explanations :
The UE-405 is running its BBD echo at minimum rate, and feedback is just under the saturation threshold. Depending on the notes played by the DX7, the level sometimes goes above the threshold, creating that flanged highly saturated delay. Yet the BBD driver has a compressor/expander, so when I play longer-sustained notes the feedback loop calms down and the saturation decreases. Subtle sh!t very specific to analog delays :) The Altai is just a cheap echo box, the BBD isn't particularly interesting but the preamp section has a nice transistor stage that clips in an asymetrical way. Banger on kicks.

Oh and that white thing hanging on the racks is my Ibanez UE400/405 controller!"

Valmont - Analog Jam 3 : Nation

video upload by Valmont

"Chords: Sequential Prophet 2000, Steven PDD-3000, Dynacord DRP-16, Ibanez UE-405
Bass: E-Mu Emax II playing a CS20M+Fairlight III patch
Bold Bass: Arp Axxe (mk2 in mk1 body), Ibanez UE-400
Flanged Chords: Akai AX-80, Boss BF-1
Drums: Behringer RD-8, Roland SIP-301, MPC Electronics DSM 1 (not to be confused with M.P.C), Yamaha R-1000, Alesis MidiVerb
Bright Pad: Sequential Prophet 600
Emax, AX-80 & RD-8 are live sequenced in Audacity, the Prophet 2000 is audio-looped on the two first cycles"

https://linktr.ee/Valmont

Sequential Prophet 600 : Ryuichi Sakamoto - Opus

video upload by Valmont

"A blissful theme by the late Ryuichi Sakamoto.
Covered (in another tonality with shortened parts) on a modified 1982 Sequential Circuits Prophet 600."

Prophet 600 twins: Prophet 1200

video upload by Valmont

"I've been wondering about that one, I thought this would make a P10-esque stack, but happens that not really! The problem I had capturing this video is that P600s are phasing out, non stop. It drifts so much that it is impossible to merge them in a coherent mono signal! (Yo, 24 unstable analog VCOs at the same time??) So it's nice on headphones, sweet on largespeakers, but hell on mono devices. Also having twice the same instrument that has this very strong signature makes it not really simple to stack. It is more meaningful to have 2 different ones, like I did here: [previously posted here]

Anyway, it had to be done, and I'm happy to know I don't need a second Prophet 600 x))

Oh and about the question, 'Do two Prophet 600 sound different?', the answer is a bit yes! To my ears, one was brighter and thinner. The other one's VCOs were harder to tune, and it was darker in the way that it didn't bring as much overdrive as the other P600. The thing is that you can't trim the VCA load, so no way to adjust this. Also I have the voicepanning board installed, that I bypassed for this video (All trims to left side), but it may change the sound. I guess all of this is mostly due to different aging of CEMs? Like my friend's one slept for years, and mine is being daily used and taken on stage idk but I prefer mine x) Funny thing tho, they didn't have the same build quality, pots were feeling a slight bit different, and inside there was differences for capacitors used (none had ever been recapped tho), for connectors and power supply too. Early models look less reliable, late ones are safer.

0:10 Soundcheck
0:20 Sound 1
0:36 Sound 2
1:03 Sound 3
1:43 Sound 4
2:00 Sound 5

Recorded at my friends' from MusikMusicStudio some time ago"

Parsedalis on Prophet 2000, Dynacord DRP16, Ibanez UE405

video upload by Valmont

1985 Sequential Prophet 2000 (12 bits Sampler)
1984 Dynacord DRP-16 (12 bits Reverb)
1982 Ibanez UE-405 (Analog Chorus)

https://linktr.ee/Valmont

Elka EK-44 Demo

video upload by Valmont

"Fun fact this unit was the one used by UVI for their soundbank 'uvi synthox' x)
1986 italian FM synthesizer, 4 operators, 8 algorithms, 18 voices, 8-parts multitimbral.
It also has 2 individual mono 3009 BBD lines (wish they had just made one, but stereo)
The EK44 - call it EM44 or ER44 as well - is based on the Yamaha YM2203, which sounds cleaner than classic DX chips... too nice for my taste, I sold it a year ago!
It's more straightforward than most FM synthesizers: sounds are rather thought as stacks of simple patches rather than single complicated evoluting sounds. Also the approach is orthogonal to DX series if I can say! You program a single parameter, for all the operators one by one on the same page. DX would give you multiple parameters for a single operator, and yet you would have to change parameter and operator by a single button. The EK44 show you the 8 (2x4) operators values, at the same time by little graphs on the screen, it's really cool. What's less cool is that they don't display algorithms anywhere. How am I supposed to guess them?? (you might have to look at the german pdf online)

Worth noticing the keyboard feeling is a step ahead from other synthesizers of that era, not as good as the solid straight Kawai K3 or AX80, but really flexible, bouncy, pleasant and kinda unique.
Additional comment: it's defo not a 1500€ synth as you might see on reverb lmao

0:00 FM Realm
0:13 3009 Strings
0:33 Golden Hour
0:49 Zappa's Apostrophe
0:58 Abas 1
1:04 Abas 2
1:08 Stackbas
1:14 Polyphonic Memory
1:34 Musical Greenhouse
1:45 Stratus
1:56 Pasiphaë
2:16 The Contract
2:28 Broken Lullaby
2:40 Simmons' Spring"

KIWI by Siel: 15 sounds (Ex Opera 6/DK-600)

video upload by Valmont

"I made one demo here but I could just go on more, it sounds too great!
The KIWI, more often branded Opera 6, or DK-600, is a super rare super great italian synth.
Sometimes reminds me of the Jupiter 8 and the Oberheim OB-8, if we put appart the abscence of crossmod. The EG are hella tight, the DCOs are damn bright and full, the filter so mellow...... The epitome of the analog polysynth, far away from the cliché of italian synths.
Also an expensive instrument in the 80's as it cost 50% more than a Korg Poly 61, a Juno 60, a SX-210 or Yamaha DX9... Nowadays it would be about 4.400€ if we adjust the inflation, so definitely not an amateur synth! It was just about the level of a Prophet 600, which funny thing is that they are absolutely opposite in sound characters (and in components, 100% CEM for P600, 100% SSM for KIWI), but they go so well together! They are probably my 2 fav synths in my room :)

Thinking about installing the voicepanning on this one too tho :D

0:00 - mild minds
0:19 - dahlias
0:34 - rbmk
0:59 - 42
1:16 - kujenga
1:29 - gris
1:50 - forbidden
1:56 - model
2:14 - jupiteresque
2:35 - windy beacon
3:01 - deluxe cream
3:25 - hermes
3:42 - sputnikzer
3:53 - blue weekend
4:12 - humble"

Valmont - Anvers (on 1975 Arp Axxe & 1982 Ibanez UE400)

video upload by Valmont

"(modified) Arp Axxe, Ibanez UE400
the arp is controlled via a cv-generating plugin I made for this jam"

Yamaha CS-20M like you've never heard before

video upload by Valmont

"Was tryna mod my CS-20M to get the CS-80 VCF configuration... Doesn't work yet, but has some interesting changes! CS filters have a frequency-dependent Q factor, coupled with a fixed LP filter. The CS-20M bridles the cutoff to max 7.5Khz, if you want to push it further you may lose some of the Q effect. Here I lowered the bandpass feedback R/C pair (R from 820K to 100K), this pushed the Fc but damped the resonance.
I am not quite sure how to change the max filter cutoff without affecting the feedback damping... Maybe some day I'll figure out x)

Tho I was lucky to record a test with a tempo click, so I could add those percussions afterwards! Apart from that this is 100% the CS-20M with no sync, almost no FX. Just everything at max values.

Interconnections: https://linktr.ee/Valmont

Track copyrighted and protected by the Sacem"

Crumar Bit 100! (Bit One + Bit 99)

video upload by Valmont

"Some chill stuff :)

SSM2044 (Bit One) vs CEM3328 (Bit 99) comparison at 1:51.
They sound pretty much the same tbh, minus the resonance drop for Bit One (design flaw of 2044s). But the boards inside do look different, we really can feel how Crumar engineers found about some possible reliability issues. My Bit One [a very early model] looks like a still-on-development instrument, with factory handmade modifications. That's why I tend to say the Bit 99 is safer, like better finished synthesizer. It also has few practical improvements that are useful for live sets, such as volume, noise and detune recall (which is not possible on Bit One), and a better keyboard feeling thanks stronger keysprings. Fun thing though, it's the same keyboard as in the Siel Opera 6 and E-Mu Emax!

So, Bit One or Bit 99? Honestly, whatever the model, you'll get the same thing. Bit99s are maybe a bit better designed, but both share all the same fragile components that usually die with time x)

0:00 - Stack 1 (with use of velocity to LFO speed!)
0:42 - Stack 2 (4 DCOs on different pitchs)
1:00 - Stack 3 (classic poly sound)
1:51 - VCF Tests

Crumar Bit 99 kindly lent by Loic from Les Amants, https://www.instagram.com/lesamantsmusic/"

E.M.I Ritm-2 working back again! (a demo)

video upload by Valmont

"I was tired of having to pay absurd prices for servicing so I did it myself x)
Turns out the power supply was dead for a third time."

Mercuriales III on 1984' Ритм-2

video upload by Valmont

"blessed pulse width"

Oberheim DMX thru Roland SIP-301 (quick patterns demo)

video upload by Valmont

"That day I forgot my camera stand so my friend Steph had to hold the camera for me x)
Just throwing some Oberheim DMX (factory eproms) grooves through a 1979 Roland SIP-301 bass preamp/comp... that has a very crunchy opto comp actually!

Recorded at MusikMusicStudio some time ago"

Minimoog-overdriven Oberheim DMX

video upload by Valmont

"Obi DMX plugged into a 78' Minimoog external input!
I really like the natural ducking effect of the mixer section... And that drive color :p

Recorded at my friends from MusikMusicStudio some time ago"

15 Pads & Textures on Kawai GMega / K11

video upload by Valmont

"Some very different synth from the usual stuff I play :p
This is a 1993 rompler, just like the Korg M1 and all these realism-aiming synths. It's a keyboardless version of the Kawai K11, with 256 waveforms, 32 voices, 32-multitimbral in a desktop 1/2 rack format. Most of the sounds are single-waveform, so you get these typical 90s static pads, which sound very nice with verb. The only downside is that you need to program it thru 4 buttons and a rotative encoder... Very 1990 again x)

0:00 - Blue Sheen
0:29 - Presence
1:15 - Breathy M1
1:35 - Liminal Space
2:04 - Turquoise
2:26 - VHS Strings
2:42 - 1993
2:58 - Bottles Orchestra
3:17 - Additive II
3:43 - Little Bell
4:00 - MIDI Bass
4:10 - Hot Water
4:36 - Hybrid
4:51 - Birds From Eden
5:37 - Scissors Echoes"

Yamaha DX7 Patch Recreations by Valmont

Synclavier Church Bell recreated on Yamaha DX7 video upload by Valmont

"Check the Synclavier voices patch from Genesis 'Mama' recreated on DX7 as well here: [below]

The Synclavier being linear FM, one of the only suitable algorithm on a DX is the one with 3 parallel carrier/modulator. So in this patch, we have 3 partials but the original patch had 4. This is no big deal, as we can just detune more the DX operators. However, the Synclavier had a 1st harmonic on carrier 1 at 20% level, which is something we can't achieve on DXs because they aren't additive... Just use some feedback, to be honest it's absolutely unnoticeable ;p

The Synclavier vinyl: https://www.discogs.com/fr/release/67...

Based on 'init' patch:
Algorithm: 5
Output level: 99, 84, 99, 84, 99, 84
Coarse: 1, 1.43, 1.01, 1.44, 1.02, 1.45
Detune: 0, 0, -2, -2, -2, -2
Rate 1: 90, 75, 90, 75, 90, 75
Rate 2: 17, 0, 17, 0, 17, 0
Rate 3: 99, 20, 99, 20, 99, 20
Rate 4: 25, 20, 25, 20, 25, 20
Rate Scaling: 2
Feedback: 4
Transposition: C2"

Synclavier "Voices 1" from Genesis 'Mama' recreated on Yamaha DX7 [Supermax]

video upload by Valmont

"This one was more simple than the previous Synclavier patch. The subtlety is that the two triple-harmonic operators are doubled by the Synclavier chorus function, and that both use asynchronous LFOs. So you get a 2x6 linear operators sound, with two moving parts in the whole thing. We can't do this in a DX7, however we have the Supermax delay function which allows something in the very same spirit. Not having a Supermax results in a strictly halved-stack, which is noticeable but okay if you add thick chorus behind.

The two Synclavier operators both contain harmonic 1, 2 and 3. They're detuned from each other, so until here the DX7 can follow. Then with the trigger-delayer, we ask the DX to play each note a second time very shortly after, with an augmented pitch. We get twice the sound, twice fatter. But we still only have one LFO for the voices, delayed or not, so the sound is phasing out a bit less. Just add a lil chorus on the output and there it goes. Tho we can remark that the patch used on 'Mama' by Genesis has less LFO modulation, it's smoother. But I wanted to recreate the real Synclavier sound x)

Also note that Depeche Mode used this patch on 'Love in Itself', just like the ChurchBell sound I recreated a month ago. [above]

Based on 'init' patch:

Algorithm: 32
Output level: 96, 84, 80, 96, 84, 80
Coarse: 1, 2, 3, 1, 2.02, 3
Detune: -4, +4, -4, +5, +5, +7
Rates for all operators: 50/99/99/40
Levels for all operators: 99/99/99/0
LFO wave: sine
LFO speed: 36
LFO delay: 16
LFO PM: 28
-----------------
Supermax functions:
Delay: 140
Volume: 3
PT: 0.38"

Synclavier "Voices 1" from Genesis 'Mama' recreated on Yamaha DX7 [Supermax]
video upload by

"This one was more simple than the previous Synclavier patch. The subtlety is that the two triple-harmonic operators are doubled by the Synclavier chorus function, and that both use asynchronous LFOs. So you get a 2x6 linear operators sound, with two moving parts in the whole thing. We can't do this in a DX7, however we have the Supermax delay function which allows something in the very same spirit. Not having a Supermax results in a strictly halved-stack, which is noticeable but okay if you add thick chorus behind.

The two Synclavier operators both contain harmonic 1, 2 and 3. They're detuned from each other, so until here the DX7 can follow. Then with the trigger-delayer, we ask the DX to play each note a second time very shortly after, with an augmented pitch. We get twice the sound, twice fatter. But we still only have one LFO for the voices, delayed or not, so the sound is phasing out a bit less. Just add a lil chorus on the output and there it goes. Tho we can remark that the patch used on "Mama" by Genesis has less LFO modulation, it's smoother. But I wanted to recreate the real Synclavier sound x)

Also note that Depeche Mode used this patch on 'Love in Itself', just like the ChurchBell sound I recreated a month ago. Check it here if you haven't seen it yet! [above]

Based on 'init' patch:

Algorithm: 32
Output level: 96, 84, 80, 96, 84, 80
Coarse: 1, 2, 3, 1, 2.02, 3
Detune: -4, +4, -4, +5, +5, +7
Rates for all operators: 50/99/99/40
Levels for all operators: 99/99/99/0
LFO wave: sine
LFO speed: 36
LFO delay: 16
LFO PM: 28
-----------------
Supermax functions:
Delay: 140
Volume: 3
PT: 0.38"

BBD emulation Crumar Trilogy prototype

video upload by Valmont

"Here I only presented the wet sound of a single BBD line and the mixed effect (still with one line). The complete ensemble consists in 3 lines like that, with phase offset and LFO combinations."

1984 Akai AX-80: 17 more great sounds

video upload by Valmont

"I played for hours straight so I had to change my camera's battery 4 times and my SD card, then assembling and sorting all the cuts I realized it moved a bit, sorry for that!
One of the great thing with the AX80 is the stability: it doesn't move of a single cent, which is fundamentally important for live performances! (Also there are 64 presets it's nice). More than being stable, it's also really in tune thanks DCOs drivers. (too much in tune..?)
It's nice to know this synth has a double-mode crossmod section, an ADSR to DCO routing and an additional sub waveform. On 8 voices so it goes big! I especially like the crossmod. It's not as versatile as a Prophet 600, but it does have a sonic difference. The filters are a question of taste, I'm into the 2044 reference and those CEMs don't sound quite the same, they have a more aggressive resonance... They're just different (in a CEM way by definition :p)
And well that look, with astonishing neon LEDs behind opaque plexiglass, and this fantastic keyboard feel! Oyy we don't speak enough about it, but it's amazing, it's perfectly balanced and nice to play with.

As usual with mono sources, I preamped the AX-80 thru a Golden Age Premier PREQ-73, and since the Akai output level is super high it easily went on overdrive. The Akai doesn't drive by itself, it's on the contrary really clean!

0:00 - matt's jupiter
0:22 - bbd like
0:38 - edged era
0:54 - chillaxattitudzer
1:16 - nyx
1:40 - parallels
1:59 - pouet
2:16 - rotterdam
2:37 - shattered skies
2:54 - sparkling cubes
3:21 - trapezoid bridge
3:45 - staircase
4:18 - strewed semolina
4:45 - atmos
5:12 - grasping at straws
5:35 - cubicle
5:58 - cardboard box"