"The Chromed TONTO" - MASSIVE Live Modular Synthesizer w/ P-Thugg from Chromeo

video upload by Anthony Marinelli Music

Like a modern day TONTO - "The Chromed TONTO"

"Discover the unbelievable as Anthony and co-host Rob Rosen, synth tech to the stars, team up with special guest Patrick Gemayel, also known as P-Thugg from electro-funk duo "Chromeo," to unveil and construct the world's largest touring synthesizer - a towering 18 feet long and 8 feet tall, featuring 6 keyboards, all fully CHROMED! Dive into an epic unboxing and building session, culminating in an electrifying improvised synth jam.
In this captivating video, witness the step-by-step assembly of four colossal custom chrome modular synthesizer towers, drawing inspiration from iconic sources like Stevie Wonder’s TONTO synth, 1984 Bang & Olufsen speakers, and Seventies space-age furniture. Crafted and chromed by the legendary Roger Arrick from Synthesizers.com, these towers house cutting-edge modular synths with a unique behind-the-modules patching system, ensuring seamless performances with quick sound changes and full MIDI compatibility for patch cord free audience views.
Delve into the meticulous live performance setup of P-Thugg and his duo mate David Macklovitch (aka Dave 1), showcasing their mastery of Ableton Live and AbleSet for music playback, set lists, and lighting cues. Experience the behind-the-scenes magic as you join the conversation with the funk maestro "P" in his warehouse, where dreams of a chromed synth spectacle turned into reality. Don't miss out on this unforgettable journey into the heart of electro-funk innovation!

00:00:00 Intro (music)
00:00:55 Meet P-Thugg
00:01:11 Building the Modules / Jam 1
00:02:53 The MIDI Keyboards
00:04:53 Building the Tiers / Jam 2
00:06:33 Custom system by Synthesizers.com (https://shop.synthesizers.com)
00:12:15 Custom Tuner Module
00:13:10 Synthesizer Tuner Hack
00:14:10 Modular and Poly Synth Output Configuration
00:15:50 Look Mum, no patch cords - Hard Wired Presets
00:17:34 Culmination of a Modular Dream / Monster Polyphonic Dream Next
00:19:07 Building the MIDI / Jam 3
00:22:44 Fully Built Instrument (after 3 hours setting up)
00:24:05 Preset Patching System
00:29:47 Bypassing the Preset Patches
00:30:21 Switching Presets on Stage
00:33:40 Spontaneously Programming Sounds on Stage
00:34:42 P-Thugg's Favorite Sound
00:35:25 Presets Switch between Live Panel Settings
00:36:39 Re-creating the Album in a Live Setting
00:37:35 Changing The Face Panel
00:40:09 Patching the MIDI Polyphonic Synthesizer Keyboards
00:43:15 Tuning Drifting Oscillators - Custom Tuner Module
00:43:51 Connecting All 4 Modular Instruments
00:45:59 Cleaning the Chrome
00:46:35 MIDI Interface Routing
00:48:47 Moog Modular Flexibility with Minimoog Speed
00:49:14 Front Panel Tour
00:51:20 Overriding the Presets with Patch Cords / Multi-Mode Filter
00:53:34 AbleSet by Leolabs - Set Lists, MIDI Patch Changes, Ableton Live Playback connection (https://ableset.app)
00:56:10 Ableton Light Cues
00:57:02 DAW Software - Cubase, Pro Tools, Ableton Live
00:57:50 Adapting the Show to the Song
00:59:37 Chromeo's Mission
01:01:20 Conclusion
01:01:47 Logo (music)"

Stereo synth for 40 bucks: a wired heart for scary drones

video upload by Pete Midi

"Be warned: the Wired Heart is not for everyone. It’s not a musical instrument that lets you play Xmas songs. It’s rather a special kind of drone synth that you may use for the score of your next horror movie or just as a rich stereo source for your next sampling session. But if you think this could also be a visually appealing gift, be careful and watch this video first! Otherwise, one day you might say or sing “Last Christmas I gave you my heart, but the very next day you gave it away …”

00:00 Intro
01:01 Specs
02:16 Extensions
03:09 Comparison
04:32 Demo: Without FX
05:25 With reverb (NTS-1)
07:20 With grains (lemondrop)

Tubbutec Wired Heart

Studio Electronics Eurorack Modules

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

via NOISEBUG Reverb

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

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

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Patch Notes: Ennio Morricone Tribute

TheEndorphines

"Ennio Morricone tribute patch based on the Good, Bad & Ugly soundtrack.
In this patch we are using Furthrrrrr generator with exponential FM to add inconsistent pitch drift in order to make the sound more realistic and human."

---

As many of you likely know, film composer Ennio Morricone passed away on July 6. He didn't work primarily with synths but he did incorporate them. He actually composed the soundtrack for The Thing using synths as a tribute in a sense to John Carpenter. From The Vinyl Factory:

"This is an unusual release in the soundtrack back-catalogue in it being a rare instance where John Carpenter chose not to score one of his own films, and where Morricone experiments with synth-tones in his composition, seemingly in acknowledgement of Carpenter’s style.

There’s a lot of muddied details that surround it, but as the story goes Carpenter was disappointed with what his musical hero (he got married to the music of Morricone) presented and embellished what appeared in the cinema with some of his own fills, leaving out a great deal of what Morricone had prepared. The LP however, includes tracks selected by Morricone and trumps his other works for horror in suspense and execution. Nominated for a razzie. Go figure."

I read that Ennio Morricone believed a synth shouldn't be used to recreate real world instruments, but rather as it's own instrument. via Wired:

"To create that original score for Tarantino, Morricone largely turns to tools unavailable in 1964, like synthesizers, which drive the tense, gloomy eight-minute overture. (Morricone’s compositions for The Thing, used in The Hateful Eight, were some of his first work with synths in the early 1980s.)

The experimenting composer isn’t above technological advances, but he’s quick to warn young composers of the dangers of seductive technology. “Electronic instruments have to be used to justify something that doesn’t exist, not to replace for instance an orchestra,” he says. “If you use the synth just to recreate the sound of an existing musical instrument, it is wrong. But if you use the synth to create sound that doesn’t exist, that’s a very wise way to use it.”

So technology can be a cautious step forward in music composition, as long as you don’t use it as a crutch. “If the composer—or the so-called composer—becomes a kind of slave of technology, if he uses technology in a toxic way, this is not progress,” he says. As Morricone sees it, technology’s role in music is “a moral stance, not only a technical stance.” A broader variety of possible sounds can benefit a soundtrack, of course, but the ease of synthetic sounds is not worth the loss of the authentic and everyday. Use technology to add a human whistle or the real tick of a watch, but don’t replace them with false facsimiles. As he describes it, in composing, “everything must start from your soul, from your heart, even when you use technology.” In his score for The Hateful Eight, Morricone is, in part, reusing music composed for a thriller in 1982 for a Western in 2015—but 70 years after his first Western, he insists he’s still experimenting, from the heart."

P.S. Thanks to gridsleep for requesting a post on Ennio Morricone and TheEndorphines for the video. I was hoping something to pay proper tribute would come in and it did.

Wind controlled modular synth

Published on Jun 18, 2019 tubbutec

"Toying with the Wired Heart synth. Photoresistors are installed and react to changing light. Fed into eurorack modular."

Wired Heart

Superbooth 2019 - Day 3 | Novation, Tubbutec, IK Multimedia

Published on May 13, 2019 JustMusic

"On day 3 of Superbooth we checked out the new Novation Summit, listened to the playful Tubbutec Wired Heart and created some beats using IK Multimedias UNO Drum.

Novation Summit - 0:00
Tubbutec Wired Heart - 5:37
IK Multimedia UNO Drum - 7:06"

Tubbutec Wired Heart - Superbooth 19

Published on May 11, 2019 AMAZONA Music Mag

Tubbutec Wired Heart

Wired Heart Demo

Published on Sep 21, 2017 tubbutec

"Wired Heart" Synth Gadget by Tubbutec.de, Phirol and Hyboid (Astro Chicken Records)

See this post for details.

"Wired Heart" Synth Gadget by Tubbutec.de, Phirol and Hyboid (Astro Chicken Records)

Published on Sep 20, 2017 Hyboid a.k.a. Astro Chicken

Available at: https://hyboid.bandcamp.com/album/wired-at-heart

"Wired Heart features six sensors that can detect touch and humidity. Each of the sensors control the pitch of an oscillator – press harder or have sweaty hands to get a higher pitch. Each sensor serves a different function, and it is best to explore the Wired Heart Sound universe by trial and error."

via Tubbutec

"Wired Heart features six sensors that can detect touch and humidity. Each of the sensors control the pitch of an oscillator – press harder or have sweaty hands to get a higher pitch. Each sensor serves a different function, and it is best to explore the Wired Heart Sound universe by trial and error. However if you want to know what is happening, you can find some explanation below.

INTERMODULATION
If this still sounds boring to you, wait what happens when you touch several pads at once. The oscillators will begin to further cross modulate each other by the current flowing through your hands and a whole new world of awesome sounds opens up.

EXPERIMENT!
There are many more ways the heart can react to you: Try wiping it with a wet cloth, put a banana on it and see what happens, or simply blow on it – the humidity in your breath will make the oscillators sing as if you were just breathing new life into six punch-drunk sirens.

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Pittsburg Modular Officially Introduces Lifeforms Eurorack Systems

"Introducing Lifeforms Eurorack Systems
Our best sounding synthesizer yet, Lifeforms systems are available in three configurations. System 101, System 201, and System 301 are the perfect gateway to the eurorack modular synthesizer world.

Interactive inspiration machines. The next generation of our System line of eurorack synthesizers harnesses the power of the new Lifeforms modules and Structure enclosures. Designed around the Lifeforms SV-1 modular analog synthesizer voice and anchored by the classic Pittsburgh Modular filter and two full range analog oscillators packed with harmonically rich waveforms, the Lifeforms Systems offer a rich sound palette with the flexibility of an open, fully patchable analog voice architecture.

The System 201 and System 301 also include the Lifeforms KB-1 pressure sensitive keyboard controller. The pressure sensitive keyboard maximizes the creative process with arpeggios, sequences, triggers, voltage memory, and more. More information on the entire Lifeforms line is available at lifeformsmodular.com.

Evolution of the Synthesizer Voice
The Lifeforms SV-1 is a fully patchable synthesizer module, destined to be the heart and soul of any eurorack modular system. It features two independent, full-range analog oscillators, and the unmistakeable sound of the Pittsburgh Modular filter paired with a highly curated set of modular tools designed to fuel the creative fire. More information on the Lifeforms SV-1 is available at lifeformsmodular.com/sv-1.

Control At Your Fingertips
Shape music like never before with the Pittsburgh Modular Lifeforms KB-1 pressure sensitive controller. The Lifeforms KB-1 eurorack module provides a multi-function, expressive, capacitive touch keyboard designed for performance. It contains a powerful one octave pressure sensitive keyboard complete with arpeggiator, step sequencer, preset voltage memory array, and a pair of multi-mode trigger pads. Eleven patchable outputs and a deep feature set enable an unprecedented level of control over any eurorack system. More information on the Lifeforms KB-1 is available a lifeformsmodular.com/kb-1."

Lifeforms SV-1
Analog Modular Synthesizer
Suggested Retail Price $699

"The Heart and Soul of Modular Synthesis
The Pittsburgh Modular Synthesizers Lifeforms SV-1 is a complete dual oscillator synthesizer, designed to be the core of your eurorack modular system. Building on the sound and legacy of our celebrated Waveforms oscillator, the SV-1 module features two full-range independent analog oscillators; sound sources that are perfect for dynamic and inspired performances. In addition to these two high-performance oscillators, we stuffed the SV-1 with a perfectly curated set of modular synthesis tools including dual, chained mixers, a plucky, four stage envelope generator, and of course, our legendary analog state-variable filter.

The Lifeforms SV-1 is a synthesizer powerhouse, providing absolutely everything you need to create gigantic and iconic synth sounds: roaring bass, shimmering leads, lush pads and warm drones are only a few knob turns away. Instantly, out of the box, a rich feature set with a fluid, easy to understand interface empowers you to create vibrant, thick tones. Modulation and Tools sections fill out the analog SV-1 modulation capabilities with a triangle and square LFO, two sub-octave oscillators chained to the main oscillator, and noise with sample & hold.

Your Sound, Your Way
Pre-patched under the hood, patch cables are not necessary to get started. But as soon as you begin patching, you will feel the power provided by the 53 patch points and 21 knobs. By breaking each feature of the synthesizer out with patch cables, a tremendous amount of flexibility and control emerges to patch up any sound your imagination can dream up. All the tried and true analog classics are there at your disposal: sine, sawtooth, triangle and square. In addition, our exclusive and powerful blade wave on Oscillator 1 adds a unique weapon to your sonic arsenal. Deep modulation options award you complex control of nearly every function of the SV-1.

A Team Player
We’ve designed the Lifeforms SV-1 to be the perfect centerpiece of any eurorack synthesizer regardless of size. In a smaller system, the SV-1 provides a wide variety of synthesis options through a hefty set of synthesis tools. Combined with a larger collection of modules, you can unlock never-before-heard expressiveness and unparalleled control over the rich feature set of the SV-1. The ability to patch and integrate the SV-1 with other existing eurorack compatible gear gives you truly infinite modulation and expansion options.

Integrated Synthesizer Components

MIDI
We started with the core of our rock solid MIDI 3 module then modified the source code to create a feature set specifically designed for the SV-1. This MIDI to CV converter enables you to connect all your MIDI-compatible gear and convert it to control voltage right inside the SV-1. Volt per octave and gate outputs allow you to connect to your MIDI keyboard or DAW and take control of the SV-1 your way.

Extensive patch options give you access to glide, CC, and velocity. A digital clock-syncable LFO with triangle and quantized random voltage waveforms provides even more modulation options. A clock input allows you to override the internal or MIDI clock and sync to external CV and gate clock signals. A built-in arpeggiator provides all of the deep arpeggio responses from the MIDI 3, including as played, double triggered, random, and random with random gate. This unlocks another level of playability and the capacity to create complex and fresh musical patterns out of just a few notes.

Oscillator 1 and Oscillator 2
Our next-generation dual analog oscillator provides the sonic framework for massive synth sounds or deep exploration of west coast style frequency modulation. Sine, triangle, saw, and square waves are at your control, all available to modulate via FM and hard sync. As a bonus, Oscillator 1 also contains our unique blade wave. The shape of the blade wave can be controlled using the width CV input, creating a sweeping or chorusing effect. Oscillator 2 is normalled to the FM of Oscillator 1, providing jaw-dropping analog FM bass, deep percussive hits, searing leads, and thick, warm analog pads which all come to life from these two modern, organic sounding oscillators. Both analog oscillators dip well below audio rate, allowing them to function as voltage controllable LFOs.

Modulation and Tools
A wide-range utility LFO with triangle and square wave outputs is ideal for VCA or Filter frequency sweeps. Or, turn it up and release the dynamic FM capabilities of either oscillator. A Tools section provides access to two sub-octave oscillators, derived from Oscillator 1’s core frequency. Analog noise and sample & hold finish out the Tools section — the hold function is initially pre-wired to MIDI clock, and equips you to create perfectly timed, random voltage steps.

Mixer
This versatile four channel mixer comes pre-wired for fast access to Oscillator 1’s sine, saw, pulse and sub. However, you are just a patch cable away from instantly making your own unique blend of waveforms from the SV-1. The mixer can be split into two independent two channel mixers simply by patching into the top output.

State Variable Filter
Rich and thick, the sound of the revered Pittsburgh Modular Filter is unmistakable. Absolutely stunning harmonic character with voltage control over the entire frequency range. A provided attenuverter lets you dial in exactly how much CV to feed the frequency input, even inverting the input for dramatic changes in modulation. Separate highpass, lowpass, and bandpass outputs are provided as breakout options, each with their own powerful sonic timbres. Turn up the resonance for an added growl, giving your tones an aggressive edge that no softsynth can match.

Four Stage Envelope Generator
Designed specifically for the Lifeforms SV-1 with a plucky, organic feel, our four-stage analog ADSR allows you to generate envelopes with remarkable, precise control over each stage. Pre-patched to receive gate signals directly from MIDI, the gate input may be overridden by any available clock, trigger, or square wave source.

Voltage Controlled Amplifier
The amplifier section not only controls the overall level of the output, but is voltage controllable. A clean, responsive VCA, capable of everything from transparent control to mild overdrive contours audio or CV signals. The ADSR is pre-patched to the level CV providing shape to the synthesizer audio.

Splitters
Two unbuffered audio or CV splitter sections allow you duplicate your signal in creative ways, routing a single audio or CV source to multiple destinations.

Line Level and Headphone Outputs
High quality stereo headphone amplifier and monophonic line level outputs controlled by a master volume knob.

User Manual
Coming soon...

Module Specifications
Panel size 48hp | Depth 35mm | Power consumption 230mA with reversed power polarity protection"

Lifeforms KB-1
Pressure Sensitive Keyboard Controller
Suggested Retail Price $499

"Take Control
Shape your music like never before with the new Lifeforms KB-1; a unique and intuitive set of tools designed for controlling your eurorack modular system. The Lifeforms KB-1 provides a multi-function, expressive, capacitive touch keyboard designed for performance. The KB-1 contains a powerful one octave adjustable, pressure sensitive keyboard complete with arpeggiator, step sequencer, four voltage memory pads and two trigger pads. Eleven outputs and a deep feature set enable you to explore new sonic territory with an unprecedented level of control.

Monophonic and Duophonic response modes with user-selectable note priority and retrigger options let you customize the KB-1 specifically to your needs. Octave buttons provide quick selection of one of seven available octaves for a wide sonic range. Monophonic mode allows you to perform soaring leads, buttery basslines with legato, or classic arpeggios. Or, take control of two separate oscillators in Duophonic mode to create rich soundscapes, complex drones and arps, lush pads, and thundering bass.

Easily program melodic sequences with maximum flexibility. Along with immersive keyboard features, there is also a powerful ten note arpeggiator and sixty-four note sequencer, each focused around playability, empowering you to craft inspiring melodies, or utilize the stepped voltage as control for other parameters, such as filter frequency or VCA control.

The Next Step
The Lifeforms KB-1 features a playable, ten note arpeggiator. This robust arpeggiator can cycle through one to three octaves. The arpeggiator in the Lifeforms KB-1 contains three different arpeggiator modes, including single or double note trigger, and random monophonic or duophonic note cycling with random gates . Probability gate burst mode can trigger additional random gates to add complexity to arpeggios. This feature, unique to the Lifeforms KB-1, enables you to have rolling pulses divided by the clock source, allowing for dramatic rhythmic variations of your sequence.

A feature-packed sixty-four step sequencer with multiple play modes gives you precise control over the cycling of your sequence. Sequences can be played forward, reverse, or random. Sequences are quickly created by step programming and each step can have one of six step modifiers: pitch bend, tie, single trigger, double trigger, quad trigger, and whole note. Once the sequence is complete, the first note of a sequence can be shifted back or forward, resulting in generating new sequences out of your initial performance. Probability gate burst mode is also available to sequences adding realtime complexity to a performance.

Express Yourself
The two assignable trigger buttons enable you to unleash your creative potential in new ways. Trigger 1 and trigger 2 can be independently assigned to one of six different trigger button modes including pressure sensitive pitch bend, gate, latch enable/disable, trigger, pressure sensitive trigger burst generator, and a pressure sensitive clock divider.

Preset Voltage Memories
The programmable voltage memory section can function as a four channel sequencer, cycling forward, reverse, or randomly; or the active channel can be selected manually allowing the section to function as a 4 channel voltage memory. Voltages are unquantized analog voltages between 0 and 5 volts. Multiple clocking options are available to drive the preset voltage memory sequencer.

On the Beat
The Lifeforms KB-1 can be clocked internally via tap tempo or from an external clock source such as a sequencer, square wave, trigger, or clock divider. This allows you to either play on your own, or perform locked in time with external devices.

User Manual
Coming soon...

Module Specifications
Panel size 42hp | Depth 38mm | Power consumption 160mA with reversed power polarity protection"

Introducing the Nodular Desktop Synthesizer - Two Sided Analog Monophonic Semi-Modular Synthesizer

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

via this auction

Update: the maker/brand name for this synth is ndlr.synths. I created a new channel label for them. We have a new synthesizer manufacturer in town.  See second "Update" at the bottom of this post for additional notes on the design.

via the auction:
"Up for sale: one monophonic analog synthesizer. I've been making analog synthesizers for about 15 years now, but this is the first I am offering up for sale to the 'general public'. I am hoping to make a business out of selling this particular model, and you could be my very first customer.

The pictures show the same unit that is up for sale. The cabinet is made from 3/4" natural cherry boards, except for the base, which is made of 3/4" MDF. Both instrument panels are made of 1/8" thick anodized aluminum. The panels have been mechanically engraved and the engravings filled with chemically hardened black enamel paint. The whole unit measures about 18" wide by 18" deep by 12" tall. It weighs about 40 pounds. This is a very well made unit, with sturdy instrument panels that'll last a lifetime.

This synthesizer has its own +15/+10/GND/-10/-15 volt power supply and will only run on 120VAC 60Hz. It consumes about 45 watts of power at full bore.

All the modules in this synthesizer have been designed to work together seamlessly, and all use the same standards: 1 volt per octave, 10 volt peak-to-peak signal voltages, and 5 volt peak-to-peak gate, trigger, and control voltages. All patches are made among the modules via banana jacks. And a few different ways of interfacing to external modules or instruments are offered via 1/4" phone jacks.

A description of the different modules follows:

(1) ring modulator

(1) white and pink noise and random voltage source

(1) sample/track & hold

(1) voltage comparator

(2) low frequency oscillators (LFOs):

(1) headphone amplifier

Both offer voltage controlled frequency, variable offset and symmetry, and sinusoidal, triangular, and pulse wave outputs. By adjusting the speed knob, the frequency can be changed from about 20Hz down to really, really, slow. This range can be extended through voltage control.

(3) voltage controlled oscillators (VCOs):

All three offer 1 volt per octave frequency control, voltage controlled pulse width modulation, ac-coupled linear frequency control, hard sync, and sine, triangle, sawtooth, and pulse wave outputs. They'll track to within .2% over at least 8 octaves with basically negligible temperature drift once the enclosure is warmed up. And they'll operate from below audio to above audio frequencies.

In addition, the first VCO offers a frequency range switch and fine tuning.

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Moogfest 2014 Presenters Include Makers Roger Linn, Dave Smith, Tom Oberheim, Don Buchla, Forest Mims & More

"Moogfest 2014 Announces Daytime Presenters Including Futurists, Musicians, Scientists, Authors, Filmmakers, and Pioneers of Electronic Music Instrument Design

Phase 1 tickets start at $199 for 5-Day General Admission, and $499 for 5-Day VIP Admission while supplies last through December 19 when Phase 2 GA tickets go up to $299. All prices exclusive of applicable fees.

ASHEVILLE, NC – November 14, 2013 – Moogfest is a five-day festival dedicated to the synthesis of technology, art and music. Since its inception in 2004, Moogfest has been a magnet for artists, engineers, and enthusiasts of Bob Moog. With an experimental lineup of daytime conference programming featuring cultural, artistic and technological luminaries and punctuated by a diverse line up of landmark nightly performances, Moogfest honors the creativity and inventiveness of Dr. Robert Moog and pays tribute to the legacy of the analog synthesizer. This is no ordinary festival.

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I Dream of Wires to Add Additional Extended Interview

via I Dream of Wires on Facebook:

"It looks like we'll be producing and releasing one more free I Dream Of Wires: Extended Interview piece in 2014. If you could choose just one person, out of all of the people we interviewed in IDOW, who would you like to see featured in a full Extended Interview? [leave your pick on Facebook here]

If you're not familiar with our Extended Interview series, we've released 9 of them so far. See the list below, and check out our Vimeo channel to watch.

I Dream of Wires - Extended Interview Series:"

9. Chris Carter:

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Synth Rorschach #19: Hubble Space Telescope Control System

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

What do you see?

"NASA ARTIFACT VPI Vehicle Power Interface Rack & Console Hubble Space Telescope

Being offered is one of the most important pieces of hardware associated with the Hubble Space Telescope that will ever be offered for public sale.

This is the Vehicle Power Interface (VPI) Equipment Rack and 2 Person Control Console for the Hubble Space Telescope.

It was the heart and soul of the HST during it's testing phase at the Space Telescope Assembly/Verification Facility and the Thermal Vacuum Chamber Facility at the Goddard Flight Center.

The VPI Console provided power to the HST and performed tests to it's batteries and solar panels as it was undergoing final testing before it's planned launch in September of 1986

There are two log of operation books that come with the VPI, chronicling it's history from it's first entry of "initial power on" 6/7/84, through it's Validation Test on 6, June 1986, to it's final entry date of 3/19/90, just a few weeks before STS 31 launched on 4/24/1990 to deploy the most famous telescope in world history!!!

The more prominent features of the VPI Equipment Rack are:

Six (6) HP 6012B DC Power Supplies,
Two (2) Lambda Power Supplies
Two (2) Battery Loads
Two (2) Remote and Command Monitor Modules
One (1) Vehicle Power Control Module
One (1) Vehicle Power Conditioning Module
One (1) Vehicle Battery Control & Monitor Module
One (1) Vehicle Power Conditioning Solar Array Input Module
One (1) AC Power Distribution Module
One (1) Clear-Com Intercom System Remote Station

Everything is housed in a very substantial 3 rack metal cabinet with lockable 3 door access in the back.

Cabinet is completely hand wired, as only NASA can do, it's a thing of beauty!

All pieces of equipment have wire seals that have not been tampered with

There are three large Heat Vent Stacks with internal fans on the top of the cabinet.

This rack is large, and has quite an impressive Presentation!

Overall size is 79" wide by 48" deep by 82" tall

Weight of the VPI Console is 2750 lbs.

The more prominent features of the Dual Control Console are as follows:

PSSP Simulator Panel
HUBBLE PSSP Simulator Panel
(2) Ball CRT Monitors
(2) ADDS Keyboards
T-O Control Panel
Telemetry and Command Panel
Auxiliary Monitor Panel
NorthStar Computer
Battery Trickle Charge Panel
(2) ADDS Panels

Control Console measures 7' long and weighs about 800 lbs.

This was a multi-million dollar piece of sophisticated electronic equipment with a remarkable place in history.

It is an Investment Quality NASA Hubble Space Telescope Artifact!"

Rorschach: I'm seeing Fairlight racks, Roland MSQ-700 buttons, Movement MCS Percussion Computer, EMS meets ARP 2500, & Akai samplers.



I'm thinking this one belongs in Bernee's Aliens Project SynxsS studio.

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Schulmerich Americana Carillon Electronic Bell, Chime Instrument for Auction

Note: Auction links are affiliate links for which the site may be compensated.
Published on Feb 11, 2013 AntiquityMusicLLC·13 videos

Stone Mountain Park Carillon-Mabel Sansing Sharp Carillonneur

Uploaded on Apr 4, 2010 stevethrasher·156 videos

"For over three decades carillonneur, Mabel Sansing Sharp has treated audiences to spectacular performances of the songs "Clare Delune", "Chattanooga Choo Choo", "Amazing Grace" and "Georgia" along with many other songs and hymns. A very special thank you to Ms. Mabel for all of the wonderful memories!

For those of you not familiar with the Stone Mountain Carillon, the instrument was built by Schulmerich Carillons in Sellersville, PA for the Coco-Cola Pavilion 1964 World's Fair in New York.
The 732-bell carillon is located lakeside in the heart of beautiful Stone Mountain Park, Georgia. This amazing bell tower structure provides daily concerts to those young and old for reflection and inspiration. The carillon is the heaviest of all musical instruments and probably one of the most interesting by design."

via this auction

This one spotted by Evan of Antiquity Music, makers of The Wheel Harp. It appears to be electronic based as you can see from the pics.

"For your consideration is an extremely rare Schumerich Americana carillon, one of Schulmerich's flagship carillons from the 1960s. Most of these carillons have been destroyed or salvaged for their amplifier parts, and finding one of these very nice models is extremely unusual. Buying a new digital Schulmerich carillon costs over $35,000 today, but these analog carillons have an even more beautiful, breathtaking sound. This particular carillon came from Weber State University in Utah, and cost over $25,000 in the early 1960s, which equates to over $180,000 in today's dollars.

We have fully restored this carillon's wiring, adding connectors (DB25, XLR, RCA etc.), so that the carillon can easily be moved around (all Schulmerich Americana carillons were originally hard-wired on-site when installed, so when removed, over 400 individual cables had to be cut, making restoration extremely costly and time-consuming). This required soldering over 800 individual cables!!!!! The restoration work on this carillon has cost us over $4000 in technicians' time.

Of course, the carillon comes with all of its original schematics and instructions.

This particular carillon has the following bells/voices, each of which has its own manual on the keyboard console:
61-note Flemish bells/voices (contained in the 5 chime boxes)
61-note Harp bells/voices (contained in the chime tower)
61-note Celesta bells/voices (contained in the chime tower)

This carillon has three 19" rack towers: (1) a power amplifier tower, (2) a timer/clock tower and (3) a chime tower

The keyboard console has a speaker in it, but the system also has an original Schulmerich satellite/external speaker. It also still has the original a paper roll player and a box of over one dozen original rolls.

Here is a video that we made when testing out this exact carillon's Harp and Celesta voices (because the volume was too loud for the camera microphone, it sounds distorted in the recording, but it is not in reality) [1st video above]

Here is a video that shows what one of these flagship Schulmerich carillons sounds like when restored (note that the carillon in the video is a different carillon, a Schulmerich Mark V, but the voices played in the video are all present and the same as those on this carillon) [2nd video above]

This instrument is perfect for the musician who loves rare bell/tine keyboards, as you can't get this sound anywhere else without paying tens of thousands of dollars for a new digital Schulmerich carillon. It even comes with Fender Rhodes sustain pedal and a Maas-Rowe Vibrachord carillon harp if you Buy-It-Now! The Rhodes pedal and Maas-Rowe Vibrachord harp, both of which are not shown in the pictures, came with a lot of equipment that we bought along with this carillon several years ago..." SNs 122-S, G339 & 30

CLICK FOR MORE »

I Dream of Wires showcase - MUTEK 2012

I Dream of Wires showcase - MUTEK 2012: IDOW reporting for Wired.com from I Dream Of Wires on Vimeo.

As part of the annual MUTEK Festival in Montreal Canada, the I Dream of Wires team curated an evening of cutting-edge, modular synthesizer based performances. The event took place on Saturday June 2, 2012 at the Montreal Satosphere (part of the Society for Arts and Technology), a spectacular 360 degree multi-media performance space with live performances, all incorporating modular synthesizers, by Sealey/Greenspan/Lanza (Orphx/Junior Boys), Keith Fullerton Whitman (Kranky/Editions Mego), Clark (Warp Records), and Container (Spectrum Spools).

This video piece was originally posted as an exclusive feature at Wired.com. See the accompanying write-up + interview with IDOW director Robert Fantinatto, below.

http://orphx.com
http://juniorboys.net
http://www.keithfullertonwhitman.com
http://warp.net/records/clark
http://www.ijustlivehere.org/container

http://idreamofwires.org
http://www.facebook.com/idreamofwiresdocumentary

http://mutek.org
https://www.facebook.com/MUTEK

http://www.sat.qc.ca
http://www.facebook.com/SATmontreal

New Doc I Dream of Wires Celebrates Modular Synths, Retro Gear
By Geeta Dayal
06.13.12

I Dream of Wires, an upcoming documentary about modular synthesizers, celebrates analog hardware in all its wild, messy glory. More than 100 prominent musicians, including Trent Reznor, cEvin Key, Gary Numan, Carl Craig and Morton Subotnick are in the process of being interviewed for the ambitious feature-length film, which is set to be finished in the fall.

Colorful masses of patch cables, rows of knobs and faders, and electronic sounds abound in the exclusive clip above, shot this month at the legendary MUTEK Festival in Montreal. In addition to interviews with several musicians, including Keith Fullerton Whitman, Container and Clark, the 15-minute clip shows intriguing glimpses of the synths in action, in a massive multimedia dome housing 157 speakers called the Satosphere.

The “dedicated and obsessive subculture” of modular synth fanatics across the world formed the inspiration for I Dream of Wires, said director Robert Fantinatto in an e-mail exchange with Wired. “Years ago, I made a small documentary film about the urban-exploration subculture called Echoes of Forgotten Places…. I felt that this whole world of modular synths could make an interesting little film.”

The project soon grew massively in size and ambition. Fantinatto joined forces with Jason Amm, better known as the electronic musician Solvent. With Amm as producer of the film, Fantinatto was able to reach a large number of well-known musicians.

“The trip to see Trent Reznor was probably the most nerve-wracking,” said Fantinatto. “He lives way up on the top of a mountain in Beverly Hills and it [was] quite intimidating leading up to the interview, but Trent was supercool and had us all at ease very quickly.”

But the most jaw-dropping array of modular synth gear that Fantinatto and Amm uncovered didn’t belong to Reznor or any of the other stars they profiled. The best collection, hands down, belonged to a clinical psychologist in Los Angeles.

“He had the most extensive collection of gear I’ve ever seen,” said Fantinatto. “A huge studio with every modular synth ever made, literally every single one ever!”

Fantinatto said he met many modular synth collectors who have “devoted a significant chunk of their lives [to] buying, building and collecting these machines that sometimes take over their homes and their lives.”

“The mystery behind what motivates this irrational obsession is at the heart of the film,” Fantinatto said. “In the end, it is a longing for something authentic — something that has been lost in a virtualized world.”

TR-707 Classic House Tracks (vol 1) - Harlem Nights Music

YouTube Uploaded by harlemnightsmusic on May 28, 2011

"This time, tributing early house tracks of 1986-1987 era, based on the Roland TR707 drummachine.. As always, all tracks selected and recreated by ear. None of the original tracks were sampled.

All TR-707 & additional TR-727 and TR-808 beats were rebuilt on a Korg Electribe SX sampler (no stock sounds). Basses and some synth parts were loosely remade with my analog synths (see below).

Tracklist:
Rick Astley - Never gonna give you up (707, 727)
Michael McDonald - Sweet Freedom (707, 727)
Taylor Dayne - Tell it to my Heart (house mix) (707, 808)
Mr Fingers (Larry Heard) - Washing Machine
Rick & Lisa - When you gonna (707, 808)
Jungle Wonz - The Jungle
Wired - To the Beat of the Drum (707, 808)
Marshall Jefferson - Move your Body
Phuture - Your only Friend
Joe Smooth - Promised Land (707, 727)

Similar beats are for sale @ www.zenhiser.com/1980 series.

Synthesizers used:
Sequential Prophet VS (pads), Moog Source (most basses), Roland Juno 60 (Mr Fingers, Wired, Phuture), Roland S10 sampler (M1 piano), Korg Polysix (Promised Land), Yamaha DX200 (When you gonna), SCI Pro One (Wired bass)

Enjoy
HN"

eChucK Standards Document - New Format Hardware Synths

"There’s a new type of music synthesizer on the horizon. It’s simple, elegant, inexpensive, and can take many physical forms. Born out of a desire to make electronic models of software music programs, the e in eChucK is for electronic. The ChucK part refers to my particular favorite music programming language, but that is not important here. What is important is the standard, linked below... [here]

OK, OK, what IS it then? Well, imagine a modular synthesizer with the case and front panels removed. You’ve got a bunch of circuit boards with wires hanging off of them scattered about on a desktop. Now make each board small and simple by reducing it’s design to minimal form. Now the circuit boards are really small and the wires just changed into 22 ga. solid hookup wire. You rearrange the boards onto a panel or in free space, supporting their light weight with the stiff wire, and make your own free-form synth sculpture. Rewire to your heart’s content to make the music that you want. That’s the idea behind eChucK.

To summarize, eChucK is a standard of tiny simplified synth boards wired freely with various miniaturization tricks like thumbwheel pots and micro switches, mini screw terminals for pcb i/o, and plain old wire for hookup."

Full details here: https://reinventor.wordpress.com/2011/01/28/echuck-standards-document/

via Les aka Inventor

See the EChuck label below for some previous posts.

9090 - Build Your Own Roland TR-909 Rack Clone

via this auction
"An Electronics Project With A Difference. Build Your Own tr-909!

If you've ever wished for the warmth and flexibility of an original analogue drum machine like the TR-909 and you're also handy with a soldering iron, then a real alternative could be to put one together yourself. The 9090 project starter kit contains what you need to get started. This is a project suited for more experienced electronics enthusiasts and requires a small number of obsolete components.

The 9090 Project is an authentic sounding, rack-mounted, MIDI controlled copy of the TR-909, that you build yourself. The starter kit being offered for sale in this listing contains the bare printed circuit boards and a small number of special components. The majority of the electronic components are to be obtained separately from your own preferred electronic components supplier.

"The advantage of using these boards is that the hard work has already been done: well thought-out, compact and extensively tested board layout design makes them an absolute pleasure to build, and the end result looks fantastic. These PCBs contain zero errors, therefore fitting all of the components and doing all of the wiring correctly can often result in something that works pretty much straight away."

Features

□ Includes all analogue sound circuits from the original machine, and it sounds identical. Even better, in fact - because some of the sounds have more flexibility. The Bass Drum, for example, has a number of new additional control knobs that enable it to make a fantastic range of kicks. Take a listen to the Sound Samples on the right (mp3 format).

□ It does not have a sequencer of any form, but it has an excellent full MIDI interface. The PIC microcontroller that comes supplied with the boards is pre-programmed with embedded software that forms the heart of the MIDI interface (decodes the MIDI messages and translates them to trigger and velocity signals for each drum circuit). The drum sounds are velocity sensitive. How the drum sounds are mapped across the keyboard scale can be reconfigured via System Exclusive messages. LED indicates MIDI activity.

□ A 'bonus feature' is a Sync24 output, which enables you to sync something like a TB303 or MC202 to the MIDI clock via the 9090.

□ The boards are intended to be built into a 19” rack enclosure or a sloping-top box (or whatever you choose) to form a MIDI controlled 909 clone. It's entirely your call on what shape and size yours is going to be! You can also choose to only build some of the drum circuits if you don't need all of the drum sounds.

I kept most of the sound circuits pretty much as they were in their original form, and the project includes all of the sounds found on the original machine. Some of the sounds have been enhanced to expand their capability far beyond those in the original machine, the Bass Drum being a good example: it now has seven potentiometers instead of four, and sounds absolutely awesome. I think many people built their 9090s just for this sound alone. Some original components that have become long obsolete have been replaced by easily obtainable substitutes, without affecting the timbre of the drum sound in any way.

All of the sound circuits are built onto the two main large boards that are seen in the picture. The third long, narrow board is used to mount the rear output sockets onto (featuring individual and stereo summary outputs). I used two main boards instead of one because it means that you can stack the two boards if you want to build the project into a relatively small enclosure, and they’re just easier to work with. The boards also contain the MIDI interface, output mix amplifier, power regulation circuitry and even a handy DIN Sync output so that you can use the 9090 to synchronise your TB303 or MC202 to MIDI clock. The completed boards just need potentiometers and output sockets wired to them, power supply and MIDI input, and away you go – a fantastic analogue drum machine you built yourself."

Samples, manuals and more: http://www.introspectiv.eclipse.co.uk/
Also see the 9090 label below for all posts here.

9090 Roland TR-909 DIY Rack Clone

via this auction
"An Electronics Project With A Difference. Build Your Own tr-909!

If you've ever wished for the warmth and flexibility of an original analogue drum machine like the TR-909 and you're also handy with a soldering iron, then a real alternative could be to put one together yourself. The 9090 project starter kit contains what you need to get started. This is a project suited for more experienced electronics enthusiasts and requires a small number of obsolete components.

The 9090 Project is an authentic sounding, rack-mounted, MIDI controlled copy of the TR-909, that you build yourself. The starter kit being offered for sale in this listing contains the bare printed circuit boards and a small number of special components. The majority of the electronic components are to be obtained separately from your own preferred electronic components supplier.

The advantage of using these boards is that the hard work has already been done: well thought-out, compact and extensively tested board layout design makes them an absolute pleasure to build, and the end result looks fantastic. These PCBs contain zero errors, therefore fitting all of the components and doing all of the wiring correctly can often result in something that works pretty much straight away..."

Descriptions for the following six circuit board pics in order:

One: "Board One - Contains power circuit, noise sources, bass drum, snare, low and mid-toms"

Two "This image shows all of the parts you get together: Three PCBs, PIC microcontroller and three PROMs"

Three: "Board Two - Contains power circuit, noise sources, bass drum, snare, low and mid-toms"

Four: "Four chips supplied: PIC Microcontroller contains embedded software for the MIDI interface, and three PROMs contain data for the hi-hats and cymbal sounds."

Five: "Board Three - Output sockets / audio mixer"

Six: "High quality silkscreen makes assembly easy."

"Features

□ Includes all analogue sound circuits from the original machine, and it sounds identical. Even better, in fact - because some of the sounds have more flexibility. The Bass Drum, for example, has a number of new additional control knobs that enable it to make a fantastic range of kicks. Take a listen to the Sound Samples on the right (mp3 format).

□ It does not have a sequencer of any form, but it has an excellent full MIDI interface. The PIC microcontroller that comes supplied with the boards is pre-programmed with embedded software that forms the heart of the MIDI interface (decodes the MIDI messages and translates them to trigger and velocity signals for each drum circuit). The drum sounds are velocity sensitive. How the drum sounds are mapped across the keyboard scale can be reconfigured via System Exclusive messages. LED indicates MIDI activity.

□ A 'bonus feature' is a Sync24 output, which enables you to sync something like a TB303 or MC202 to the MIDI clock via the 9090.

□ The boards are intended to be built into a 19” rack enclosure or a sloping-top box (or whatever you choose) to form a MIDI controlled 909 clone. It's entirely your call on what shape and size yours is going to be! You can also choose to only build some of the drum circuits if you don't need all of the drum sounds.

I kept most of the sound circuits pretty much as they were in their original form, and the project includes all of the sounds found on the original machine. Some of the sounds have been enhanced to expand their capability far beyond those in the original machine, the Bass Drum being a good example: it now has seven potentiometers instead of four, and sounds absolutely awesome. I think many people built their 9090s just for this sound alone. Some original components that have become long obsolete have been replaced by easily obtainable substitutes, without affecting the timbre of the drum sound in any way.

All of the sound circuits are built onto the two main large boards that are seen in the picture. The third long, narrow board is used to mount the rear output sockets onto (featuring individual and stereo summary outputs). I used two main boards instead of one because it means that you can stack the two boards if you want to build the project into a relatively small enclosure, and they’re just easier to work with. The boards also contain the MIDI interface, output mix amplifier, power regulation circuitry and even a handy DIN Sync output so that you can use the 9090 to synchronise your TB303 or MC202 to MIDI clock. The completed boards just need potentiometers and output sockets wired to them, power supply and MIDI input, and away you go – a fantastic analogue drum machine you built yourself."

Further details and samples at the auction and here.

Update: some audio vids via MB909 in the comments here.