Jimmy and the Yamaha FX1

You are looking at the Yamaha FX1. The FX1 was a three manual FM based synthesizer under the Electone organ moniker, similar in look but not synthesis as the coveted analog GX1. GX1, FX1, get it? I have searched for images of the FX1 on the net and have come up empty.

Well.... Jimmy managed to run accross my site and informed me that he actually has one. To give you an idea of how rare the FX1 is, according to this Sound on Sound article there is only one in existence in the UK. The SOS article does not have an image of one. Think about that. This is about as rare as it gets folks. From the SOS article: "Lest you think that (other than the DX1) all FM synthesizers were small, neat affairs, let me tell you about the FX1. This was a huge three-manual beast very much in the mould of the GX1, but based entirely on FM synthesis. If you've never heard of it, I'm not surprised. Costing £36,000 in 1986, there's only one working example in the UK, and not many more elsewhere." Well, we now know there is at least one more working sample out there. Title link takes you to more shots sent my way via Jimmy. I need to stress how thankful I am that Jimmy took the time out to take pictures and share some of his story with me (during our conversations he stated that he would takes some shots and send them to when he had time. To my surprise that ended up being much sooner than later). I decided to include a bit of his story as well, as I found it fascinating. It also gives you a bit of this particular synthesizers' history and gives it context.

The following are excerpts from an email exchange I had with Jimmy:

"I do a single - organ, piano, sing, comedy, etc. One of the last night club entertainers left, I guess. I've been doing essentially the same type of show for the last forty-five years. I'm 65, but I'm going on 30. I definitely don't act my age, on or off stage. I still play a B-3 Hammond with two Leslie speakers. The B-3 I'm playing is the one I started playing in 1960, when I started in the night club business. I only play three nights a week. I really don't want to work more than that. I'm married and have raised two sons. I've met most of the musical stars through the years and have maintained a friendship with most of them."

"Back to the FX1, I tried to get it fixed one time (I spilled a coke into a small section to the left of the lower keyboard). Yamaha company said that they could replace the boards if I sent them to them one at a time. I really didn't know what was wrong with the organ at the time, so I sent one circuit board at a time and Yamaha replaced them, one at a time. Yamaha didn't even have a prototype of the FX1 in their repair facility so that they could compare the one I had with one in their shop. Sending parts to them really didn't solve the problem, because they didn't have a prototype in which to insert my parts to note a problem. I hadn't realized that the spilled drink was the problem. I brought the organ here from Florida and within a week, the repairman had diagnosed the problem and repaired it like new. It really is a workhorse piece of equipment. It will probably be around long after I'm gone."

"I wonder how many of these FX1s are left. I was told that there weren't too many of them to begin with. I'm not sure, but I had been told that there were twelve of them in the USA. I was told that Stevie Wonder owned one when they first came out. He has to have used it in studio. There was a train wreck (I believe) where all but a couple of them were destroyed. It was going from California to New York. Mine was one which survived the wreck. There is a corner of the keyboard where the edge is slightly bent. This supposedly happened in the accident. I don't know if this is true, Matrix, but that is what I was told (after I bought the organ!)"

"You asked how the FX1 plays, etc. It is a wild piece of history. It is the most powerful sound because of the huge external speakers. The speakers can be turned up so loud, that the sound can be deafening. I never really turned it up to max, but it is scary. The speakers are on wheels and they match the organ, which is an off-white. The organ as well as the speakers and the bench are extremely heavy - extremely. I thought that the B-3 Hammond was heavy. The organ itself weighs probably 300 pounds. The bench, alone, has to weigh 80 pounds. In order to get to the guts of the organ, you have to unscrew aload of screws and the whole front lifts up in two sections. The inside looks like the most complicated thing you've ever seen. It has six (I think) large circuit boards which pop out. It was way ahead of its time! When you change registrations, all of the sliders automatically move to the desired preset settings. It is quite amazing."

"You [Matrix] are a pretty crazy person [indeed ; )]. Very interesting that you have that site! I am really a collector of everything, so I guess I just never got rid of keyboards when I used them through the years. I also have a mini-moog that I've had for twenty five years. I'm not a great synthesizer player - I used the mini-moog for effects in my show. I should really use it for effects today. I'm trying to get informed enough to sample it down to my Kurzweil sampler. You see, on the job, there isn't a lot of time to play synthesizers, changing stops to be interesting, plus keep everyone's interest as a singer and comic. I'm a very busy guy on the stage. It's a very little one-man show that relies on personality as well as technical ability. I'm sort of the entertainer's entertainer. Andy Williams, Ray Stevens, Pet Clark, and the like, come out and watch me after their shows. Not much use for them with the type of shows here. They are playing pretty straight stuff. The town used to be known for country, but it is changing by the year. There are Beatles shows and good old Rock and Roll shows. Synthesizers are quite scarce in the shows. A bunch of my friends are into them, though, and have them at home. I am from the school of Earl Grant, Shay Torrent, Buddy Cole, Lenny Dee, Ethel Smith, Jimmy Smith, and the like. Most of them were personal friends. Petula Clark came in to see me on Saturday night. She sat in with me and sang a couple of old standards. It's a gas, because, I'm sort of a retro act. Although I have had some of these keyboards throughout the years, I am really not proficient in using them with any great knowledge of wave lengths, etc. I've been friends with a lot of the great players, and they think I'm a monster in my own way, but I've always been crazed with the way they play. I probably have thirty old keyboards - none of them are the ones mentioned in your blog - they are simple, usable keyboards that I've picked up in pawn shops, etc. I don't know if you knew who they were, but years ago, Joe Mooney, Del Statton, and Jocko Pastorius (and his dad, Jack) were good friends. Jocko was a mega monster on keyboards, as well as the bass. We were friends from the time he was 13. His dad was a good buddy. Jocko was the freak of all freaks. He would sit, as a kid, and watch me kick footpedals, without even looking up at the keyboards. I'm rattling on. I just wanted to fill you in."

Rattle on. : ) Again, I want to thank Jimmy immensely for taking the time out to share this with us. Folks, if you have any questions for Jimmy please feel free to post a comment and I'll make sure he gets it. Thank you more than words can say Jimmy. Wow!

Update: link to the manuals via hugo:
FX1E_1.pdf
FX1E_2.pdf
FX1E_3.pdf
FX1E_4.pdf
FX1E_5.pdf

Update via Jimmy in the comments: "The FX1 I have has a mini-disc recorder/playback unit attached to the underside near the right knee which can replay as though it were live. I think you can see it in the picture. Not bad for the time! I also have a second recorder. - J"

Update via the comments: More shots and info here

Update: be sure to check out the comments for more. The following via Jason:
"Add another FX1 to the list of found. This one was purchased new to be, of all things, a church organ! My father was a Yamaha dealer at the time and he was offered the chance to "test" a new model of the Electone series. It was actually purchased in 1982 (yep, before it was released). The serial number on it was "XXX" and there was nothing on the organ indicating it was an FX1. I always thought it was kind of strange Yamaha would send something like this to such a small town to be tested. Anyway, the organ is now gone after being struck by lightning in 1989. It sat out in an alley exposed to the elements for 7 years before it was finally hauled off to the dump. I tried to stop that, but I was only 15 when it was drug off, so I didn't have a choice.
I'll always remember that organ as being the "Star Trek" organ. The kids of the church would just sit at it and change the settings to make the sliders move on their own. Anyone else think it looked like a console out of Star Trek TNG? haha
btw, here's a link to an MP3 file of a demonstration of the organ playing."

Update via Andrew in the comments: "Yamaha made a promotional album for the FX-1 in 1983, you can grab it here"

Update via Rockstardave in the comments: "I did a write up on my FS-500, very similar to the FX-1, with some pictures and such:

http://freeorgansusa.blogspot.com/2010/03/yamaha-electone-fs-500.html

Come have a look at my "new" baby."

Nord Lead 3 - Demo 01

YouTube via uppuz
"No fx, no audio editing, no presets. Pure NL3 raw sound.

NL3 Specifications

POLYPHONY
•20 voices. 4 part multitimbral.
SPECIAL FEATURES
•Velocity Morphing: each function, controlled by a knob, can be controlled to respond to keyboard velocity. Wheel Morphing: each function, controlled by a knob, can also be controlled by the Modulation Wheel/Control Pedal to continuously fade between two sets of values.
Performance controllers
•4 octave velocity sensitive keyboard with octave shift buttons (+/-2 oct.)
•Keyboard Split, two sections.
•Modulation Wheel
•Pitch Stick (with no dead zone at zero crossing)
•1 pedal input for sustain
•1 for expression pedal. Patent pending for the Pitch Stick.
User interface
•3 digit display, 26 knobs and 27 buttons for program editing.
Oscillator section
•OSC 1 generating sine, triangle, sawtooth or pulse with adjustable width, waveforms. OSC 2 generating triangle, sawtooth or pulse (with adjustable width) waveforms and can also generate noise with a color control. OSC 2 can be hard-synched to OSC 1.
•Linear deep frequency modulation of osc 1 from osc 2. A wide range of new waveforms with a strong formant character is achieved with the new synchable noise, where noise can be synched to OSC 1.
Filter section
•12 dB (2-pole) low pass, 24 dB (4-pole) low pass, band pass or high pass and notch with 12dB low pass. Cut off, resonance, envelope amount, envelope amount controlled by velocity. ADSR envelope. Filter keyboard tracking can be set to full, half or off. Filter distortion.
Amplifier section
•ADSR envelope, gain control.
Modulation section
•LFO 1 generating triangle, saw, pulse, LF filtered noise and random staircase routed to OSC1+2, OSC 2, filter, pulse-width and FM amount.
•LFO 2 produces a triangle waveform, routed to OSC 1 and 2 or amplifier. It also controls the rate for the arpeggiator. Arpeggiator: Range: 1 - 4 octave. Modes: up, down, up/down, random. Hold function. Echo can be set between 1 to 8 repeats. Modulation envelope (attack, decay) for OSC 2 pitch, FM amount and pulse width.
Performance section
•Play mode: Poly, legato, mono, unison mono, unison poly. Manual mode. Four program slots for layering possibilities. Portamento/auto portamento.
Percussion kits
•10 analog drum kits. Each percussion kit consists of 8 independent sounds, configurated in 8 zones across the keyboard.
Memory
•Programs (single sounds): 297 (3 x 99) user, 693 (7 x 99) factory.
•Performances (multi sounds): 100 user, 300 (3 x 100) factory.
•Percussion kits (multi zone sounds): 30 (3 x 10) user, 70 (7 x 10) factory.
Audio Out
•4 outputs. Each slot has its own output. Modes: stereo, mono and multi-timbral mode. Headphones out. High resolution low noise 24 bit DACs.
MIDI features
•All control knobs and switches for program editing send and receive control change messages. System exclusive bulk dumps. One program or all programs. MIDI clock synchronizing LFO 1 and LFO 2/arpeggiator restart. Triggering of the filter and amplifier envelopes and velocity control from separate programmable MIDI channel and note numbers.
Connections
•4 Line Level Audio Outputs - ¼", 6,35 mm jacks, unbalanced
•Stereo Headphone Output - ¼", 6,35 mm stereo jack
•Sustain Pedal - ¼", 6,35 mm jack. Use a momentary pedal, like e.g, Roland DP-2, DP-6, Yamaha FC-4, FC-5, Fatar VFP1-25 etc.
•Control Pedal - ¼", 6,35 mm TRS stereo jack. Use a Roland EV-5 Control/Expression pedal
•MIDI in & out - 5 pin DIN connectors"

YAMAHA CS-40M - Review, Sounds & Demo | Analog Synthesizer

synth4ever

"Yamaha CS-40M analog synthesizer review, sounds and demo. This Yamaha CS-40M review provides an overview of the synth, the CS40M's features and functions, and an extensive sound demo of CS-40M patches, presets and live improvisation.

TIMECODES
===========
00:00 - Intro
00:49 - Overview
02:03 - VCO/EG/LFO
06:04 - Ring Mod/Noise
07:15 - VCF/VCA/EG
12:23 - Performance Controls
15:29 - Conclusion
16:45 - Sound Demo

Introduced in 1979, the Yamaha CS-40M is a 2-voice duophonic monosynth with extensive modulation and sound shaping capabilities. It has a 44 note keyboard, 36 knobs, 12 sliders and lots of buttons for hands-on control and editing. There are also 20 patches of memory to store patches and presets.

The Yamaha CS40m has 2 VCOs per voice with triangle, sawtooth, and square (pulse/PWM) per oscillator. It also has 1 LFO (sine, up-ramp, down-ramp, square, and sample-and-hold) with speed and depth control, an AR (attack/release) envelope generator for each VCO/LFO/Ring Mod, and Ring Modulator with speed and depth control.

Also on-board the Yamaha CS0-40M is a simple mixer for both VCOs and noise, as well as a multimode VCF (LP/BP/HP) with cutoff, resonance and ASDR envelope controls which can be modulated via LFO (sine, saw, inverted saw, square, sample & hold). VCO AR and VCF ADSR envelopes can also be inverted.

The CS-40M's VCA features 2 sinewaves for deep bass, as well as modulation via multiple waveshapes (sine, saw, inverted saw, square) plus ADSR envelope control. The VCO, VCF and VCA envelopes also have x5 switches to extend their effect. The Yamaha CS-40M also has CV/Trigger outputs for each voice and CV inputs as well as hands-on performance controls for portamento, sustain, brilliance, volume and filter/pitch.

Although the Yamaha CS 40M only has a single LFO, it can modulate the 2 VCOs, VCF and VCA using different waveforms at each destination. This allows for more complex modulations to be achieved. The Yamaha CS-40M's tone can be described as dusty, earthy, mellow, but also more aggressive at times depending on how it is programmed. It is also a fun synth for analog textures, noise and fx.

The Yamaha CS-40M is quite a large and heavy synth, still somewhat obscure, and not as readily available on the second hand market compared to other more popular synths. As a vintage duophonic analog monosynth, it is capable of interesting sounds and timbres that some may find unique for their music or sound design. As such I do recommend keeping an eye out for the Yamaha CS-40M if you like its overall sound and features."

KORG TRITON EXTREME EXB-MOSS Z1 KILLER SCI-FI SOUNDS & FX Part 1 by Rik Marston

Published on Jul 14, 2016 SynthgodXXX

Update: part 2 added below.

The first patch sounds similar to Prophetic Steps on the KORG Prophecy. Same engine but slightly different some say. I always thought the Z1 was a Polyphonic Prophecy, but the parameter editing does not actually match up 1 to 1. I once tried creating Prophetic Steps on the Z1 to see what a polyphonic version would sound like and ultimately gave up. On the other hand the Yamaha UK once released a Roland JP-8000 soundset for the Yamaha AN1X that was quite spot on. I A/B'ed them and was blown away at how exact they got it in some cases. I always wondered if they ported the patches through software of if an individual meticulously recreated them.

Video description:

"KORG TRITON EXTREME EXB-MOSS Z1
"KILLER SCI-FI SOUNDS & FX" Part 1
by Rik Marston
***Watch In HD*** 100% NO TALKING!
Please Watch Your VOLUME LEVELS!!!

This is a 2 part demonstration of the sounds &
the power of the optional EXB-MOSS (KORG Z1
synthesizer engine in an expansion board) for the
KORG TRITON & KARMA series keyboard music workstations.
It's the heart & soul of the powerful Virtual Analog /
Physical Modeling MONSTER synthesizer: The KORG Z1.
I love the KORG Z1, so having it INSIDE the KORG TRITON EXTREME 61 key is GREAT!!!
And it is also EXCELLENT in the KORG KARMA!
Now that ROCKS!!!!!

The first 7 sounds are from the FANTASTIC Professional
sound designers: PRO-REC
The bank (on sale at Pro-rec.com) is called
"MOSS Film 3-D" + it's worth every penny!!
Waaay trippy sounds that will take you into OBLIVION!
Great use with the EFFECTS!!!
The last 4 sounds are from the FACTORY F Bank
PCG's or Programs.
They show off a great variety of soundscapes & the true power
of the fantastic EXB-MOSS expansion!! 6 voices of AWESOME!!!!

Here are the sound names, program numbers & time in video:

1. Planet X F079 from PRO-REC "MOSS Film 3-D" @ 00:08
2. Evolution F084 from PRO-REC "MOSS Film 3-D" @ 00:59
3. Alien Vector F061 from PRO-REC "MOSS Film 3-D" @ 01:44
4. Reactor Engine F042 from PRO-REC "MOSS Film 3-D" @ 02:25
5. Spectacles F050 from PRO-REC "MOSS Film 3-D" @ 03:30
6. Xanthers F078 from PRO-REC "MOSS Film 3-D" @ 04:46
7. Slip Sipper F058 from PRO-REC "MOSS Film 3-D" @ 07:18
8. BPF Sweep F041 from the FACTORY F Bank @ 08:36
9. Sub Lead F026 from the FACTORY F Bank @ 11:04
10. Square Hollow F009 from the FACTORY F Bank @ 12:48
11. Morph 3003 Dist F067 from the FACTORY F Bank @ 13:30

Thank You For Watching!
More Synth Demos & Ambient Chill Zen Music
Coming Soon!
Rik"

KORG TRITON EXTREME EXB-MOSS Z1 KILLER SCI-FI SOUNDS & FX Part 2 Rik Marston


Here are the sound names, program numbers & time in video:

1. Water Bell F092 from the FACTORY F Bank @ 00:05
2. Antique Strings F062 from the FACTORY F Bank @ 01:51
3. Dream Strings F038 from the FACTORY F Bank @ 03:29
4. Night Lights F017 from the FACTORY F Bank @ 05:50
5. Forest F015 from the FACTORY Bank @ 08:00
6. Vowel Phase Pad F023 from the FACTORY F Bank @ 09:37
7. Mad Scientist F0111 from the FACTORY F Bank @ 11:00
8. Ground Synth F0123 from the FACTORY F Bank @ 12:23
9. Giant REZ Sweep F048 from the FACTORY F Bank @ 13:43

Korg volca MS-20mini AMBIENT BREAKBEAT jam NO INPUT MIXER &guitar (Volca Keys RPE SEQ12)#27

Published on Nov 8, 2014 VolcaRock

"Let me take you on a journey to an AMBIENT BREAKBEAT live jam with NO INPUT MIXER SOLO, KORG Volca Keys, MS-20 mini & guitar for lead sounds, Volca Bass and Waldorf Pulse for the deep tones, Volca Beats and Jomox Jazbase 03 for drums and other great analog synths: ROLAND JUNO 60, WALDORF Microwave 1, Doepfer MS 404, NORD Modular Rack (the only VA synth). All synths are sequenced with RPE SEQ12 matrix sequencer or played live. - - - Filmed my & my girlfriends second flights in Sächsische Schweiz (Germany) with DJI Phantom II and Zenmuse H3-3D ! - - - NO INPUT MIXER is made with Behringer XENYX 802 and MFB Step-Filter, inspired by the amazing TUESDAY NIGHT MACHINES (#TTNM), watch his great tutorial here:
http://youtu.be/zocHxT_IWqk

I HOPE YOU ENJOY MY CHILL-OUT LIVE MUSIC VIDEO ART :-) & feel free to ask me if you have any questions
________________________________________­__________

SYNTHESIZER SETUP (*used on this track)
Korg Volca Bass*
Korg Volca Beats*
Korg Volca Keys* into Rocktron Tsunami Chorus
Roland Juno 60* into 2 Behringer Vintage Time Machines*
Doepfer MS 404* into Rocktron Hyperflange
Waldorf Puls 1*
Waldorf Microwave 1* (with Access Programmer)
Nord Modular Rack*
Emu Proteus 2000
Yamaha Tx81z
Jomox Jazbase 03*
Jomox Xbase 09 (special edition with Jazbase upgrade)
Roland Rhythm 77
Roland DR-880

all Synths run into Soundcraft Spirit M12 and Soundcraft Spirit Folio 12/2
into Main Mixer (TL Audio Fat Track)

Send FX Spirit M12:

CLICK FOR MORE »

Matrix VCA - 4MS Eurorack module Demos

Matrix VCA - 4MS Eurorack module - Demo 2

Published on May 12, 2012 by DJjondent

"The inputs on the left receive:
A: CV from AutoBot (AcidLab)
B: LFO (Doepfer)
c: LFo (Pittsburgh VILFO)
D: CV from MakeNoise WoggleBug

Outputs from Matrix go to the VC 303 Bass Synth.
(Its a TB 303 clone in Eurorack modular form).
A: Pitch
B: VCF
C: VCF
D: Slide

Its Great fun to play my "matrix connections".
I think that it would probably be better to install this module flat ... next to a keyboard or ribbon controller.

The 16 control jacks allow modulation of the output signals with CV."

CLICK FOR MORE »

YAMAHA EX1 FOR SALE POLYSYNTH ELP VIDEO

YouTube Published on Jun 14, 2012 by MarkJenkinsMusic

Update: according to Wikipedia the EX-42 was the stage model of the GX1, not the EX1.

Update: for those pressed on time, don't miss the slide out programmer at 20:14, the inside with the front panel removed/hinged up at 22:22, and the horizontal vibrato at 13:00 for the small keyboard. 13:47 reminded me of Beastie Boys Intergalactic.

"YAMAHA EX1 POLYPHONIC SYNTHESIZER FOR SALE.

My Yamaha EX1 is now for sale. In extremely good playing order, it's located in central UK. Buyer will collect and will need a large van ideally with tail lift.

The Yamaha EX1 is the theatre version of the GX1 as played by Keith Emerson (with Emerson Lake & Palmer on 'Fanfare for the Common Man'), by Led Zeppelin, Stevie Wonder, Abba, Ekseption and more recently by Hans Zimmer. It's thought that maybe a dozen GX1's and 40 EX1's were manufactured.

While the GX1 was fully programmable (with difficulty) and featured a pitch bend strip, the EX1 is easily programmed for three overall patches using a slide-out front panel, and has polyphonic glide and, on the solo keyboard, a unique side-to-side movement for modulation.

The EX1 features two fully polyphonic keyboards (with organ tabs and polyphonic analog synthesizer sounds) which can be slaved together, a top keyboard monophonic analog synthesizer which can be slaved to the upper organ manual, and a monophonic analog synthesizer bass played from the included pedals, or slaved to the lower keyboard. Also included is an analog drum machine, auto chord accompaniment section, and arpeggiator.

Included with this EX1 is the original double width pearl white matching bench, and the user manual. I never took delivery of the matching speakers which are enormous - there are various audio outputs to use Leslie-type rotary speakers, or such effects can simply be added by digital fx units.

Playing condition is exactly as shown in the video, shot in mid-June 2012, and while there are very very minor questions the instrument is basically in full working order. One or two keys are intermittent on some but not all sounds, but are by no means dead and probably just in need of a clean, a couple of panel light bulbs are dead, and it's possible one of the several modulation shapes on the solo synth is non-functional - but then again, it's possible I may have misunderstood some functions, and it's certain that most controls need to be DOWN rather than UP as you'd expect for full level.

To collect the synth you'll need a large and ideally tail-lift van able to reach central UK. The bass pedals, bench and bench legs are all separately boxed. Please do not ask me about shipping of any kind - it's not possible.

Substantial offers please including details of your arrangements for collection. Obviously no dubious payment methods such as Western Union or PayPal will even be considered.

Another good EX1 demo starts here [embed below]

www.markjenkins.co"

Yamaha EX-1 Mega synth / organ tutorial by Miguel Kertsman! (part 1)

Uploaded by MiguelKertsman on Nov 28, 2011

"Composer and Keyboardist Miguel Kertsman demonstrates / explains the legendary Yamaha EX-1 Electone Organ / Synth in this detailed three-part tutorial, including live performances and improvisations!"

More videos here: https://www.youtube.com/user/MiguelKertsman/videos

MS-20mini Octatrack COSMIC SPACE ROCK floydish ambient GUITAR psychedelic (Korg Volca, Elektron) #30

Published on Jan 31, 2015 VolcaRock

"COSMIC SPACE ROCK - a pink floyd-ish psychedelic live JAM with KORG MS-20 mini, ELECTRON OCTATRACK, heavy & AMBIENT GUITAR live loops.
Live play of MS-20 mini through guitar pedalboard (Lead Synth), NORD Modular Rack (Organ) and WALDORF Microwave (FX-Sounds).
KORG Volca Keys, WALDORF Pulse & DOEPFER MS-404 are sequenced with RPE SEQ 12 Matrix Sequencer
All Beat Loops made with KORG Volca Beats & JOMOX Jazbase 03.
All Synthesizer Loops made with KORG Volca Bass, ROLAND Juno 60, WALDORF Microwave & NORD Modular Rack.
All Loops sampled with ELEKTRON Octatrack

Alternative Video (Drone Flights and City Highway by Night) Filmed with DJI PHANTOM II in Adelberg (Germany) and Stuttgart (Germany)
Lots of flight action above the street, winter & snow landscapes, night flights.

I HOPE YOU ENJOY MY LIVE winter VIDEO ART :-) & feel free to ask me if you have any questions
I WISH YOU ALL THE BEST FOR 2015
________________________________________­__________

SAMPLER SETUP: (*used on this track)
Elektron Octatrack (Master Clock)*

into Main Mixer TL Audio Fat Track

SYNTHESIZER SETUP (*used on this track)
Korg Volca Bass*
Korg Volca Beats*
Korg Volca Keys* into Rocktron Tsunami Chorus
Roland Juno 60* into 2 Behringer Vintage Time Machines
Doepfer MS 404* into Rocktron Hyperflange
Waldorf Puls 1*
Waldorf Microwave 1* (with Access Programmer)
Nord Modular Rack*
Emu Proteus 2000
Yamaha Tx81z
Jomox Jazbase 03*
Jomox Xbase 09 (special edition with Jazbase upgrade)
Roland Rhythm 77
Roland DR-880

all Synths run into Soundcraft Spirit M12 and Soundcraft Spirit Folio 12/2
into Main Mixer (TL Audio Fat Track)

Send FX Spirit M12:

CLICK FOR MORE »

Baby Audio Introduces BA-1 Soft Synth Based on a Poylphonic Yamaha CS01

video upload by BABY Audio

"BA-1 is a modern re-imagination of a cultish 1982 analog synth that looked like a toy but sounded like a beast. It brings you pure and authentic lo-fi textures that are fast to program and dripping with color."

"BA-1 is based on a portable 1980s synth with a toylike appearance and a gritty sound. Despite its small size, it left a big mark on music history, while still flying somewhat under the hype radar. The original has been used as a secret weapon for bubbly synth textures by some of Sweden’s most successful pop producers of the past two decades. It was also a staple of 1990s digital dancehall and beloved by the indietronica scene for its raw lo-fi quality. The ‘CS01’ - as the original is called - has never been properly captured in software form. So for our first ever synth, we started there.

In keeping with our motto 'it’s an evolution, not an emulation', we modeled the hardware with the greatest possible accuracy, before carefully upgrading it with new and useful features. A second analog-modeled oscillator, FM, polyphony, and more, help to vastly expand the sonic palette of the original. All while keeping its signature sound unspoiled.

Additionally, BA-1 lets you drain the battery, bend the circuits, and use the built-in speaker – for an authentic lo-fi aesthetic that you could normally only get with hardware.

If you know our company, you’ll know that effects are our specialty. So we’ve treated BA-1 with an FX section worthy of its own plugin. The effects chain is inspired by budget 1980s rack hardware and captures the lo-fi charm of the home studio scene of the era. The overdrive is modeled after a guitar pedal, while the delay, reverb and chorus effects are based on cheap, but amazing, digital rack units.

In BA-1, the effects are not an afterthought but an ingrained part of the sonic signature. So tweak, use, and abuse them.

BA-1 is simple, but surprisingly tweakable. We’ve put great effort into tuning all parameters to be in the perfect sweet spot. This results in a rewarding programming workflow where tweaking BA-1 is a lot of fun and you’ll create new patches on repeat.

And if a simple interface is not fast enough, you can always use the smart ‘Re-Gen’ feature. Hit Re-Gen and BA-1 will automatically create new and musically tuned patches with every click."

KORG MS-20 mini AMBIENT PSYCHEDELIC 70ies live JAM w GUIT (Korg Volca Beats Bass)#26

Published on Oct 18, 2014 VolcaRock

"My latest 70ies influenced AMBIENT PSYCHEDELIC live jam with KORG MS-20 mini through my guitar pedalboard, and other great analog synths: KORG VOLCA Bass, Beats & Keys, ROLAND JUNO 60, JOMOX Jazbase 03, WALDORF Microwave 1, Doepfer MS 404, NORD Modular Rack (the only VA synth). All synths are sequenced with RPE SEQ12 matrix sequencer or played live. Filmed my first flights in Sächsische Schweiz (Germany) with DJI Phantom II and Zenmuse H3-3D. I HOPE YOU ENJOY MY LIVE MUSIC VIDEO ART :-) & feel free to ask me if you have any questions
& feel free to ask me if you have any questions
________________________________________­__________


SYNTHESIZER SETUP (*used on this track)
Korg Volca Bass*
Korg Volca Beats*
Korg Volca Keys* into Rocktron Tsunami Chorus
Roland Juno 60* into 2 Behringer Vintage Time Machines*
Doepfer MS 404* into Rocktron Hyperflange
Waldorf Puls 1
Waldorf Microwave 1* (with Access Programmer)
Nord Modular Rack*
Emu Proteus 2000
Yamaha Tx81z
Jomox Jazbase 03*
Jomox Xbase 09 (special edition with Jazbase upgrade)
Roland Rhythm 77
Roland DR-880

all Synths run into Soundcraft Spirit M12 and Soundcraft Spirit Folio 12/2
into Main Mixer (TL Audio Fat Track)

Send FX Spirit M12:

Line 6 Echo Pro
2 x Lexicon MPX 100 (Hall/Chamber)

SEQUENCER / MIDI KEYS: (*used on this track)
RPE SEQ12 Hardware Matrix Sequencer* (Master Clock)
Yamaha RM1x
Analogue Solutions Europa
Roland PC 200 MKII
Miditech Midistart Midi 25*


GUITAR & KORG MS-20 mini SET-UP:
LeadStar (made in GDR) & MS-20 mini with Pedals in the following order (*used for this track)

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James Song - An Improvisation by MyOneManBand

Published on May 12, 2016

Gear list further below.

"This is the first of a series I will be making in response to the sheets filled out by the audience of my last TEDx talk.

........................................
About Me :
MyOneManBand is the name I give to the live improvisational electronica that I create in real-time out of sounds from many instruments, often using a mixture of organic sound sets such at classical guitar, marimba, dulcimer, kalimba, accordion and drums with synthetic textures electronic percussion, beeps, bleeps and hiss.

I make music to please an urge that exists within me to see what is possible to accomplish on my own with no pre-recording or backing tracks. I came to this way of working through the live-looping process using audio recording tools such as the Boss Loopstation and Echoplex Digital Pro, but I now find for the main part that MIDI is more flexible for what I do as it allows the musical structures of my work to remain flexible in real time so I can add and strip away layers in a non linear way.

I also make music to take my own small space within the context of the many great artists who are also working in the field and as such I am on a journey that does not expect reward financially or through the more conventional measures of success, but rather I hope to find value in my work through the people who I meet through its undertaking and the ideas and thoughts that they bring into my life.
I am therefore always eager to engage with my views through critique, help or just to talk geek for a while...please...never be afraid to get in touch.

Thanks very much for watching, if you like my work , please consider subscribing to help me continue to spread my work to like minded people.

Phill Wilson (AKA MyOneManBand)

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New "Moonraker" patches f/ Waldorf Blofeld Synth

via this auction

""Moonraker"

The James Bond soundset for your Wladorf blofeld synth!

An exclusive soundset for your Waldorf blofeld with a James Bond theme behind it. These patches are all original, NO FACTORY patches OR other USER patches here. All patch names were chosen from a number of characters past and present from the James Bond movies. Each patch reflects the characters role in the movie.

As for the sounds? Well... the sounds are incredible! A lot of edgy type material with lots of energy, thanks to the Wavetables and Overdrive curve section. All patches are "up to date" modern electronic sounds that are extremely useful, none of this cheesy stuff for sure!

The Moonraker soundset is especially great for Electro House/ Prog. House, Nu style Trance, Pop, Soulful/Funky Future Jack House and Hip Hop.

This is Vol. #1 with 65 patches in all (Vol. #2 is coming soon with the new License SL Sample option for the blofeld with even greater sound possibilities, also Buyers of this one will get a discount on "Moonraker" Vol.#2). The patches are extremely useful and will not disappoint. The soundset includes: Bass, Mono, Lead's, Arp's, Pad's, Poly and FX's. The patches are saved on bank "C" on the Blofeld, 1-65.

Moonraker Content:

01. Quantum Solace--Pad 23. Thumper--Poly 45. Sharkey--Bass
02. Ms. Money Penny--Arp 24 . Falco--Poly 46. Necros--Bass
03. Paris Carver--Arp 25. Honey Ryder--Arp 47. Dario--Bass
04. Mr. White--Lead 26. Dr. No--Lead 48. Mr. Kil--Bass
05. Jinx Jordan--Pad 27. Maximillian--Bass 49. Kara Milovy--Mono
06. Agent 004--Arp 28. Plenty O'Toole--Poly 50. Jaws--Fx
07. Agent 007--Arp 29. Fiona Volpe--Mono 51. Chang--Fx
08. Dr. Alvarez--Arp 30. Holly Goodhead--Pad 52. Vijay-Mono
09. Agent Fields--Lead 31. Bambi--Bass 53. Agent Ava--Bass
10. Hugo Drax--Arp 32. "Q"--Arp 54. Agent Liz--Fx
11. Dr. Kaufman--Bass 33. Penelope S Bone--Bass 55. Chuck Lee--Poly
12. Professor Joe B.--Bass 34. Stavro Blofeld--Bass 56. Agent Triple X--Bass
13. Mary Goodnight--Arp 35. Lt. Hip--Bass 57. Dr. Warmflash--Fx
14. Bianca--Arp 36. Ocotopussy--Atmo 58. Sir Godfrey--Poly
15. "M"--Lead 37. May Day--Fx 59. Mr. Bullion--Bass
16. Pola Ivanova--Pad 38. General Gogol--Poly 60. Kronsteen--Bass
17. Max Zorin--Bass 39. Vesper Lynd--Pad 61. Ms. Rosa Kleb--Bass
18. Dr, Mortner--Fx 40. Le Chiffre--Bass 62. Mr. Wint--Bass
19. Jenny Flex--Bass 41. Dominic Green--Fx 63. Saida--Pad
20. General Moon--Arp 42. Hector Lopez--Bass 64. Victor Sokas--Bass
21. Hawkins--Bass 43. Miranda Frost--Bass 65. Tee Hee--Bass
22. Solitaire--Bass 44. Felicca--Pad

About the sound designer: 9 plus years of experience programming a number of synth's. The Programmer has made patches for the, Access virus b,c and TI synth's, Roland sh 32, Nord Lead 2 and 3, Roland JP8000, Waldorf Q+, Q, micro Q and now the Blofeld ,the Hartmann Neuron synth, Yamaha AN200 and countless of software synth's."

Yamaha DX7 IID - Performance patches

Published on Jul 29, 2013 roboticrealm

"The performance patches can now be downloaded here:
http://www.lukaslundh.com/Music.html

Yamaha DX7 IID (made in 1987) differs from the original DX7 (made in 1983) in that you can stack two patches on top of each other and make a performance patch. You can either stereo pan the two sounds left and right or have them both at the center. Here I demonstrate some of the performances that I've created from existing patches. The first performance sound however, was found on the instrument when I bought it. The sound at 1:00 is a sound I recieved, and made a perfomrance patch of, from Paul Mangru here on Youtube, that I've tweaked a little bit. The sound at 4:01 is a sound I've programmed myself.

Even though the DX7 is digital and excels at the typical FM electric piano sounds and bell sounds, it can sound pretty warm and analogue which you can hear when you listen to the pad sounds in this video.

I played the DX7 IID is without any additional effects.


If you want to hear my music please visit:
http://www.lukaslundh.com
https://soundcloud.com/andgalf"

Yamaha DX7 IID Performance patches with TC Electronic M350

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ORLA DSE 24 VINTAGE 80s SYNTHESIZER

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

via this auction

According to the listing, the DSE 24 is the same synth as the BOHM 12/24. You can see a demo of the BOHM here.

"Italian FM expander from the eighties rebranded from the German model Böhm 12/24originally based on Yamaha FM chips.

There are 2 rackmount models:
- DSE 24: voices polyphony
- DSE 12: voices polyphony

info RACKMOUNT a single unit. Main panel features a simple segments display, 15 buttons and 1 volume knob. All available synthesis functions are printed above the rack.

Back panel terminal connectors:
- master out
- Midi interface
- tape interface
- footswitch input for patch increase

edit VOICE 24 voices, hardware is based on Yamaha YM genuine chips:
- 4 oscillators operators
- 8 connection diagram algorithms

edit SYNTHESIS concept is close to 4 OP Yamaha TX-81Z but with only sinewave with no harmonic variations. There are 4 sinewave operators organized as algorithms, assigned as carrier or modulator linked between them on different pathways interacting on their harmonic contents depending on the variable feedback strength.
- carrier: defines the amplitude and the spectral frequency
- modulator: sets the sound timbre and the relative harmonic contents.
The module offers 32 different combinations algorithms with frequency ratio or fixed frequency: the output is fed back to its input with 7 different levels feedback, as general rule, high values feedback results in richer harmonic contents.

fm synthesis

lfo LFO 2 delayed modulators with variable depth amount, 2 destinations:
- amplitude
- pitch

fx ENVELOPE5 EGs:
- 1 EG for each OP: 4 segments +1 sustain time
- 1 EG pitch and 7 preset templates
- EG scaling tracking amplitude on lower or higher octaves.

family MIDI implementation responds to Midi System Exclusives dump.

performance PERFORMANCE up to 16 different parts with some functions:
- monophonic mode with glide option
- voices stack
- detune mode

memory MEMORY machines exists in 2 different OS versions (ROM sets):
- 1 bank of 100 patches
- 2 banks of 100 patches

EFFECT internal analog chorus based on BBD TDA 1022."

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Yamaha DX1

Click here for shots via this auction. Note the DX1 had poly-aftertouch.

Details:
"This is quite rare and hard to find, since they only made about 140 of this model.

The Yamaha DX1 Digital FM Synthesizer was a direct decendent of the original DX series prototype, the CSDX [also check out the FX-1] that I saw at a NAMM (National Association of Music Merchants) Convention in Anaheim, CA around 1983-84 in the Yamaha booth. Clark Spangler renowned composer and product specialist was demonstrating the instrument and had the room capitvated with the sounds of this prototype keyboard with a real Yamaha wooden keyboard action. He said to the crowd intently listening "this keyboard has to be felt to be believed". Of course, no one was allowed to touch it but him! Everyone was drooling. This thing was huge with beautiful Brazilian Rosewood sides, front and a front panel display that looked like the cockpit of a 747.

Everything about the DX1 is top shelf. It weighs 112.2 pounds (at least that's the weight listed in the owner's manual, it's very heavy), it has full length wooden keys and twice the polyphony of the Yamaha DX7 - the DX1 is 32 note polyphonic when in SINGLE MODE and features a DUAL MODE that layers the two 16 voice tone generators or a SPLIT MODE that puts a complete 16 voice polyphonic synthesizer on each half of the keyboard. This makes the DX1 one of only two of the DX series instruments to offer a full 32 notes of polyphony when using the sustain pedal and arpeggiating a large number of keys.

Many people think that the DX1 is merely two DX7's in a big wood case or a DX5 with 73 wood keys. NOT SO. The DX1 sounds better than ANY of the DX and TX series synthesizers, I've owned them all and played them side by side, there's no comparison. I always thought that the DX1 was the most "analog sounding" and warmest of the DX series. I realized that it wasn't just my opinion or my ears, I found out that Yamaha did make the DX1 using hand-picked components for it's top of the line instrument, so IT IS DIFFERENT than ALL the other DX series synths. It's cleaner and quieter than all the others, including the DX5 that was introduced as a lighter version of this magnificent beast. All DX7 cartridges can be used with this DX1. The classic DX FM pianos have a depth unlike any DX7. Brass and string sounds are much fuller and richer sounding since the two tone generators can be detuned and this detuning is one of many programmable parameters that a single DX7 can't duplicate.

Besides the sound (as if that's not enough alone) what makes the DX1 really special is it's control surface. The tiny LCD display that made the DX7 so hard to understand and program or edit, the DX1 finally makes programming FM synthesis easy to understand and FUN! The plethora of controls and LED displays this instrument has is incredible. Like it's little brother the DX7, the DX1 has the graphic representations of the 32 algorithms, unlike the DX7, they're larger, easier to see and more beautifully displayed over a blue lined background on the lexan/plexi front panel. Next to this are 13 LED windows that not only show the algorithm selected, but the position and relationships of the operators. There are small LED bars that link these windows together so that the algorithm is represented fully illuminated. Next to this display is another pair of LED windows that display the algorithm number and the mount of feedback (if there is any) for the designated oscillator. More than just a "pretty face" this section really lets you see all the information represented by the selected algorithm. The display also includes LED windows that show the frequency ratio, or if selected the fixed frequency, and the detune amount of the currently selected operator.

If you've ever tried to change the attack or decay times of the envelope generators on a DX7, you know how cryptic and tedious it can be stepping thru all the different individual envelope "pages" in that tiny display. The DX1 makes changing the envelopes a snap since it has eight numeric LEDs, showing the setting of each envelope parameter (00 to 99) and four 16 segment LEDs that display graphically the amplitude rates and levels. This display can be toggled to also show the pitch change rates and levels for the pitch envelope.

Other LED displays include the Keyboard Scaling panel, which again shows you all at once, the break point, depths and selected curves for the currently selected operator. The last LED windows on the right side of the panel show the velocity sensitivity, amplitude modulation, and output level for the selected operator. All of these displays are controlled with actual physical buttons unlike the DX7 that has all membrane switches. Many of the switches also have LEDs in them to indicate which button is selected as well, another great feature that "de-mystifies" the programming and editing of sounds. You can easily see which button is "ON or OFF". As you can see in the attached pics, the DX1 even has 6 dedicated switches for the operator selection and 6 buttons to turn the operator on/off making it very easy to hear how each adds to the resulting sound.

There are individual buttons for algorithm and feedback selection, operator mode and tuning that work with the previously mentioned LED display windows, as well as 8 individual buttons for all the rates and levels on the envelope generators, a toggle between the EG display and Pitch EG, 5 buttons for the Keyboard output level and rate scaling, Amplitude Modulation, Key Velocity, Operator Output level....just look at the pics.

The 32 voices are divided into two sections labelled "A" and "B". There are 32 patches for the "A" tone generator and 32 patches for the "B" tone generator. Each section has four banks of eight patches for a total of 64 programs in all. There are also two standard DX series ROM/RAM cartridge slots; one each for the "A" and "B" banks giving you a total of 128 programs available at once! There's also a nice large 40-character, two line, LCD dipslay, (again nothing like the tiny LCD on the DX7) which display the programs selected in Single, Dual or Split mode as well as LFO and other voice specific parameters when editing the programs. This LCD also shows you what you are editing in FUNCTION mode. There's a nice silkscreen right on the front panel to help you remember all of these additional functions such as Tuning, Performance Memory Parameters (how you combine the different programs in Dual and Split modes, detuning of the two tone generators, etc, etc, etc,.....), MIDI controls, and the parmeters that control the poly aftertouch that is unique to the DX1.

This keyboard not only has the standard mono aftertouch like the DX7 and most other syntheiszers for LFO and other modulation, but it also has poly aftertouch that can affect all the operators individually. The DX1 is the only DX synth with this feature. You can actually program the poly aftertouch to allow you to change the timbre and volume of an individual note within a chord!

The front panel also includes the master volume control, the A/B balance of the two tone generators, a dedicated portamento time slider (try changing that on the fly on a DX7), and the data entry controls which include both a continuous controller/slider and up/down buttons. There are the standard Pitch and Modulation wheels.... even these "feel" better than those on any other DX or KX keyboard (I've got both of them). The Mod wheel has a smooth, weighted feel to it and the spring loaded action on the pitch wheel is nicer than most.

The rear panel has 13 inputs and outputs. These include AC input, MIDI In/Out/Thru, continuous controller inputs for volume and modulation amount, footswitch inputs for sustain and portamento on/off. There are 6 audio outputs, three 1/4 inch outputs for a mono mix of both the "A" tone generator and "B" tone generator as well as individual outputs of both for stereo. These are also three XLR balanced outputs for mono mix, and the "A" tone generator and "B" tone generator . This Yamaha DX1 Digital FM Synthesizer has been in my smoke free studio since 1985. I'm the second owner. This is a Japanese 100 volt model that I have been using with a transformer that converts 110/120 volts to 100 volts. The transformer is included in the auction as well as the original Owners Manual, DX1 Performance Notes, a Control Pedal (for volume or modulation) and a sustain footswitch pedal (you can still buy new an additional Yamaha FC-7 foot control pedal as well as an additional Yamaha sustain type footswitch if you want total control of volume, modulation, sustain and portamento at the same time.

I'm also including the two impossible to find original Yamaha DX1 Data ROM Cartridges with the original factory programs made especially for the the DX1. I also have a road case for this DX1. (not an anvil case but one made by Bobadilla cases). The foam in the case has deteriorated and would need to be refoamed. One of the latches is missing it's folding handle so it has to be turned with pliers. This is not the red DX case on wheels that was seen in the Yamaha DX1 brochures. No stand is included. This instrument weighs 112.2 lbs."

via Johan.

MyOneManBand sequencing external MIDI gear with a Tenori-on

Published on Aug 7, 2013 phillwilson·167 videos

"here is the mading-of tutorial:

MOMB Tenori Tutorial

Published on Aug 8, 2013

"I thought I would do a little video showing how the Tenorion can be used as an awesome multi-channel MIDI step sequencer.

The great thing is every channel can run at its own speed and also you can save variations of the sequence at different points and then move between them during the performance.

I hope you enjoy the tune, let me know if you have any questions.

........................................
About Me :
MyOneManBand is the name I give to the live improvisational electronica that I create in real-time out of sounds from many instruments, often using a mixture of organic sound sets such at classical guitar, marimba, dulcimer, kalimba, accordion and drums with synthetic textures electronic percussion, beeps, bleeps and hiss.

I make music to please an urge that exists within me to see what is possible to accomplish on my own with no pre-recording or backing tracks. I came to this way of working through the live-looping process using audio recording tools such as the Boss Loopstation and Echoplex Digital Pro, but I now find for the main part that MIDI is more flexible for what I do as it allows the musical structures of my work to remain flexible in real time so I can add and strip away layers in a non linear way.

I also make music to take my own small space within the context of the many great artists who are also working in the field and as such I am on a journey that does not expect reward financially or through the more conventional measures of success, but rather I hope to find value in my work through the people who I meet through its undertaking and the ideas and thoughts that they bring into my life.
I am therefore always eager to engage with my views through critique, help or just to talk geek for a while...please...never be afraid to get in touch.

Thanks very much for watching, if you like my work , please consider subscribing to help me continue to spread my work to like minded people.

Phill Wilson (AKA MyOneManBand)

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Love Confession on Yamaha Electone EL90

YouTube via Tonneman

"Me playing "Love Confession" on the Yamaha Electone EL90. In 1986 (if I remember correctly) I reached second place in the finals of the national Yamaha Electone contests. That time, I performed this song on the Yamaha FX-20.

"Love Confession" has been composed by Ruud Jansen, who was my organteacher and coach back then. As far as I know, Ruud originally played this composition years begore I did (seventies?) and became nr 1 of the European Yamaha contest.

To play this piece on the EL90, I made the arrangements (registrations), rithm patterns and rithm sequences myself. I kept in mind the original arrangements and character of the song as I performed it back then on the FX-20.

Enjoy!"

Vince Clarke Studio For Sale

LINK via Alex.
"Due to Relocation... Vince Clarke from Erasure is Auctioning over 160 items of Audio Equipment from his UK Studio. All have been regularily serviced. Most have documentation. Five items a day will be Auctioned starting from Wednesday 24th October.

Items that will be sold:
Gentle Electric Model 101 ---------Ear 822Q --------Drawmer DS201 Gate -------Drawmer DS201 Gate-------- DBX 166A Comp------- DBX 166A Comp----- Yamaha SPX90-------- Roland SDE3000A --------Eventide H3000-D/SE------ Bel Electronics BD-80-------- Lexicon PCM70-------- Bel Electronics BA40-------- Korg Stage Echo----- DeltaLab Effectron ADM1024------ Orban/Parasound 106CX------ Korg Signal Delay----- Roland Space Echo----Lexicon Primetime-------- Peavey Reverb -----Ear 823MQ------- Drawmer DL221---- Roland GS 6 --------Otari DTR-7-------- Aiwa XK007 Excelia------ Denon DCD 595----- Furman Sound RV-1------- Astorias Classical Accoustic GTR JM155------- Martin&co Steel String Accoustic---------- Yamaha NS-10 Pair--------- Yamaha NS-10 Pair------ Ear 509mkII Amplifier-------- Ear 509mkII Amplifier ----------Ear 549 Amplifier------ Ear 549 Amplifier------- Ear 549 Amplifier-------- Ear 549 Amplifier-------- Un-named Studio Control Speakers-------- SAE P50 Amplifier----- SAE P50 Amplifier------- NAD 3020A Amplifier------- Akai S1000------ Roland A110 Midi Display-------- Alesis DATA DISK-------- Dual 505-2 Turntable------- Revox 1/4 inch 2 Track Recorder --------David 9000 Speakers ---------Studer C37 Type828 2 Track Recorder----- Studer A80 24 Track Recorder ---------EMT 140 Plate Reverb ------UMI Computers x 8 with drive and memory cards-------- Optikenetics Solar 250 Light --------Speaker Stands 45cm High --------AS Filter Bank FB3----- EMO RackLight RK1-------- Sycologic AMI------- Sycologic M16x ---------Sycologic PSP------- FriendChip SRC-------- FriendChip SRC/AT ----------Ensoniq KMX-16 ---------DAC High Capacity Storage System------- Amek Mixing Console -------Groove Electronics MC-Lites Midi Box---------- JBL M553 Crossover --------Tascam DA-P1 DAT-------- Arun Oxley Pin Patch--------- Otari Radar 24 Track Hrd Drv Recorder Plus SCSCI Drive--------- Otari RE-8E Controller--------- Amek Mice Controller----- Studer A80 VU Remote Control----- Studer AutoLocator-------- Bantam Jack Patch 6 1U units of 96 inputs--------- A/DA GTR Flanger ----------ProCo GTR FX RAT------ DaneElectro Tuner---- Signex CPM22 MIDI Patch--------- Symetrix Headphone Amplifier SX204-------- Fairlight C.M.I--------- Erasure MIDI/Gate System --------Beckmann9020 Oscilloscope------ Roland PMA-5----------- Roland PMA-5------ Roland MC-4 Micro Composer---------- Roland MC-4 Micro Composer------- Roland MC-4 Micro Composer------- Roland MC-4 Micro Composer --------Roland MC-4 Micro Composer---- Roland MC-4 Micro Composer--------- Roland CV Interface 0P-8M ----Roland CV Interface 0P-8M -----Roland CV Interface 0P-8M---- Roland CV Interface 0P-8M ------Roland CV Interface 0P-8M-------- Roland Digital Cassette Recorder MTR100------- Roland Digital Cassette Recorder MTR100 --------Roland Digital Cassette Recorder MTR100 ------Roland SBX-80 Midi Sync Box ------Roland MC-300 Micro composer-------- Roland MC-500 MKII Micro Composer---Behringer Ultra X crossover---- BSS DPR522 Gate----AB 215 EQ--- Behringer ULtra Q Pro--- BSS FCS 926 Varicurve--- BSS FCS 926 Varicurve--- BSS FCS 920 Varicurve--- Klark Teknik DN514 Auto Gate--- Behringer Multicom 4ch Compresser--- Behringer Composer Pro 2ch Compresser---- Roland SDE 3000--- AB 215 EQ--- Roland SDE 3000---Yamaha SPX90---Yamaha R1000 Reverb--- DBX 120-DS--- BSS Soundweb 9088i Signal Processer--- BSS FCS 920 Varicurve---- Yamaha SPX90MkII---- Behringer Composer Pro 2ch Compresser--- Behringer Virtualizer Pro--- Behringer Multicom 4ch Compresser---- BSS DPR502 Midi Noise Gate---- DBX 500 SubHarmonizer---- DBX 160 2ch Compresser VU Meter Version---- AB 215LT EQ---- Yamaha PM180 Rack Mixer---- Behringer Tube Ultra Q---- Behringer Tube Ultra Q---- Behringer Tube Ultra Q---- AB 231 EQ---- Roland Dimension SDD-320---- Citronic V-4.5 Conquest 2ch Amplifier---- White Parametric EQ---- White Parametric EQ--- Crest Century 24ch Mixing Console---- Crest 32ch Mxing Console---- Duke Box----"

Pictured above: Roland Space Echo RE-201 and Korg Stage Echo.
Vince Clark's hobbit / mushroom looking studio.

E-mu Emax Emax II Lot of 50 Sound Banks on Floppies

via this auction

"ORIGINAL EMAX LIBRARY:
ZD707: Mixed Chorus (11 Presets, 2 Sequences)
ZD713: Multisynth Combo
ZD714: Woodwind Ensemble
ZD724: Solo Arco Cello/Violin (16 Presets)
ZD726: Male Voices And Synth Orchestra (17 Presets)
ZD750: Circa 1969 Assorted Keyboards
ZD754: Harpsichord And Breathy Flute (35 Presets, 1 Sequence)
ZD767: Gong/Tympani/Voices (10 Presets, 3 Sequences)
ZD777: The Bliss Disk
ZD804: Atmospheres (11 Presets, 1 Sequence)
ZD806: Woodwinds And Brass
ZD807: Female Voice/Bell (14 Presets, 1 Sequence)
ZD810: Harp Gliss Number Three (5 Presets, 1 Sequence)
ZD814: Synth FX Thor III
ZD848: Multi Synth (15 Presets) (Gold)

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Live Acid Electronica - "Low"- TR8, TB3, System 1, MX1, Volca Bass, Electribe 2, Ableton Push

Published on Jul 19, 2016 Rezzonator

"Another track taken from my forthcoming album performed live. For this one I am using a combination of hardware and software. I am sequencing the TR8, TB3, and Korg Volcas from Ableton and launching the midi clips from Push as I perform. This gives me the ability to have longer sequences without the restrictions of 1 bar patterns on the hardware. I can also use Live's internal fx.

Equipment used...
Ableton Live
Ableton Push
Aira TR-8, TB-3, MX-1, System 1
Korg Volca Bass
Korg Electribe 2
Yamaha TMX7 drum module
iPad running Rebirth app for second TB303 sound"

Spotted on discchord.

Live Acid Electronica - "VorteX"- Roland TR8, TB3, System 1, MX1, Volca Bass

Published on Jun 17, 2016

"Live performance of a new track called VorteX which will appear on my forthcoming new album. This is basically all hardware performed using the Roland TR-8, TB-3, System 1 and MX-1 along with Korg Volca Bass and Korg Electribe 2. I am using Ableton Push with Live just to trigger the sound fx and risers etc - all the song parts are coming from the hardware.

What you are hearing is the raw recorded audio - no extra mixing or processing.

The M-Audio Trigger Finger Pro is the master midi clock source.

www.rezzonator.co.uk"