MATRIXSYNTH

jamming with the Futureretro Revolution SE

Amapolita de Arahuay-Quiero brindar / Filter version

YouTube via pepemogt.
"Using electro harmonix for filtering "amapolita song", audio out from computer(you tube) to Micro Bass Synthesizer Filter."

Cwejman vco-2rm,AS modular synth VCO+LFO and TR-606

YouTube via pepemogt.

"here in the video i did a simple patch using just the output of the ring modulator from the Cwejman vco-2rm, the Analogue Systems VCO controlled by the Analogue Systems LFO and on the other input is the Roland TR-606 drum machine, i really love the sound of the Cwejman ring modulator alone, no aditional effects were used, just the 3 eurorack modules and the tr-606.
http://www.myspace.com/latinsizer
http://www.latinszier.com"

You can find more details in the description for the vid here.

via pepe of milerecords.

Roland GR-500, GS-500 and PC-50

Click here for shots via this auction.

Details:
"Roland GR-500 and GS-500 Guitarset including controllers and cables. very rare because you won't find this combination anywhere! only a few where made in the past. As used by Mike Rutherford of Genesis and Alex Lifeson of Rush.

Here is a description:
''This is THE first guitar synth ever made & it came out in 1977! It came with an Ibanez made Les Paul type guitar with tons of knobs to control various parameters of the 3 separate synth's that were built in to the module. The synthesizer module included Bass, Solo Synth, and String sounds based on previous Orchestral and analog mono-synths from Roland. There are plenty of sliders to adjust the VCO, VCF, VCA, and LFO sections. The guitar utilizes a special pickup system that is connected to the synth module via Roland's own 24-pin interface and controlled it using CV/GATE signals generated by the guitar's pickup system while playing the guitar. In addition to the modified pickup, there were magnets under the face of the guitar that could increase its sustain''

This is the complete set including the guitar, the PC-50 Preset Controller footswitch, 24-way cable and the synthesizer unit (GR500). The guitar has a very nice honeyburst finish.

The playability is very good, with a nice comfortable neck and low string action.

The sound is very very very versatile as you may expect. You can create anything with this one, Because of the Les Paul style body this guitar sustains for days and has a nice warm tone. I'm sure the guitarsynth experts know what i'm talking about.

The condition is good. Just light playwear. Some scratches here and there, but nothing serious. A hardcase is included for the guitar.

Here is another description for the high tech guitarplayers among us:

The GS500 was a heavily modified Ibanez guitar, with a single humbucker plus a hexaphonic pickup for driving the GR500, individual on/off switches for each of the four synthesis sections, switches to select the sound of the guitar itself, the synthesizer, or both simultaneously, plus EQ. All this appeared as a beautifully crafted, but very heavy instrument whose body contained magnets that fed the audio output back to the strings, thus creating an 'infinite sustain' system. The GS500 really was far more than just a guitar plugged into a sound generator!

If the GS500 had a limitation, it was that you could only connect it to the outside world using a heavy, multi-core cable unique to the GS/GR500 combination (shown in the above picture). Without this, you owned nothing more than a large, heavy paperweight. Given that there are now no spares left, you cannot even build a new one, and the similar-looking cable used for future Roland guitar synths was wired differently and does not work correctly. While players were to find this very frustrating, it had a huge benefit for Kakehashi and Roland when the prototype was stolen — and then returned as 'unusable' — just hours before its world launch in Australia.

The synthesizer module (shown below) was amazing, with five sound generation sections — G, P, B, M and S — that you could play individually or in any combination. These were the straight-through Guitar, Poly-ensemble, Bass, Melody, and an 'external synthesizer' section designed to interface with and control an SH5, System 100 or System 700. The Poly-ensemble, which treated the independent outputs from the 'hex' pickup, was interesting, and produced what would later become Roland's signature 'bowed guitar' sound, but it was the Melody section that captured players' imagination because it was here that the real synthesis took place.

Sounds were generated by a conventional VCO/VCF/VCA architecture reminiscent of the earliest SH-series synths, but with a number of very important bonuses. For example, the VCA was 'touch sensitive', and the output from the Poly-ensemble was an input in the solo synth's mixer, so you could inject the polyphonic sound into the VCF/VCA signal path. Another superb innovation was the output buss system that allowed you to direct the sounds generated by each of the sections to any one of three outputs as well as a global 'Mix' output.

In addition, the PC50 Preset Controller was a floor unit that allowed you to set up three mixes for the P, B, M and S sections and select between them using stomp switches. A fourth switch returned control to the guitar. I have never seen mention of the PC50 in any of Roland's documentation"

via Johan

Roland SH-2

Title link takes you to shots via this auction.

via Johan

Samplers with analogue filters

Title link takes you to the list on DVDBorn. Feel free to add to it.

MOOG Sanctuary

Via Ron West on AH.

Update via Mark G on AH:

"As I recall, Dave van Koevering was marketing these to the church market.
Joe Rivers told me there were either 50 or 100 of them done for him."

Metasonix TS-21 Hellfire

Title link takes you to shots via this auction. One out of only 38 ever produced.

Mimi and Polivoks

Remember Mimi? Here's a shot of her with a Polivoks. Via catsynth.com where you will find one more shot.
Originally via polynominal.

Sequential Circuits Studio 440 with Vacuum Fluorescent Display

via Mark:

"This is one of my two Sequential Studio 440s, one of my favorite instruments in my studio. Like a lot of older instruments, the backlit LCDs in both of my 440s went dark long ago, and there's nothing sadder than trying to navigate a menu in a dark room with no backlight. Recently I found that a company called Noritake that sells VFDs that are almost drop-in replacements for some LCDs. I say almost drop-in because the mounting depth is a little deeper. In the case of the 440, I had to trim down the existing studs and install longer standoffs for mounting. Mounting these into an instrument with more depth restriction might not be possible. These vacuum fluorescent displays are just beautiful. There's something about having a bright, crisp display that makes the instrument seem much easier to use, it's like the brain assimilates the information effortlessly when the text is so clear and bright. I decided to retrofit both of my 440s and they worked out great."

Matrix6 - my first synth. : ) Title link takes you to a couple more shots. Thanks Mark!