Sherman Filterbank 2 demo in Hi-Fi

YouTube via shaft9000
"a simple patch from a Supernova synth is processed using various modules in the Sherman Filterbank signal processor."

Roland Juno-60 + EHX Small Stone + TR-606 + SCI Pro-One

YouTube via retrosound72

"synth demo track by RetroSound

pads: Roland Juno-60 through EHX Small Stone phase shifter
bassline: SCI Pro-One, triggered by the TR-606
drums: Roland TR-606


hand played, no software sequencer used"

Sound Thrasher 3.0

via
this auction
"Here’s an original piece of functional art, created by New York outsider artist, Bent-It. This particular work of art is part of his Sound Thrasher series. The piece shown in the pictures is the one you will receive.

With this piece, Bent-It combines visual, audible, and physical stimulation, fostering a truly unique, thought-provoking, interactive work of art. The artist’s fundamental concept of “art creating art” is made evident, as the owner of this piece may physically control and manipulate the audio/ sound/ noise/ music/ art output.

The guts of this functional art piece include three oscillators which play with each other, causing its ¼” output to spit out droning, spaced-out, ring modish, 80’s video game-ish, psychedelic analog noises. The on/off switch can also be flipped rhythmically, allowing for some wicked bleeping/blooping noises. But, to experience, what you could call, the full potential of this piece, go ahead and hook it up to an audio effect pedal, board, rack, or even your Mac or PC, and explore the infinite world of soundscapes that you can create. The Sound Thrasher has a ¼” input for anything with a strong enough signal to effect the piece. For example the audio clips made with a roland tr-505 drum machine where the Sound Thrasher more than lives up to its name – thrashing and destroying any incoming sound waves and mutating them into sounds of vulgarity or beauty, depending upon your style and taste of audio/sound/noise/music/art.

A standard boss-style 9-volt DC wallwart adapter will bring this functional art piece to life. It is not included."

click here for audio
You can see the Sound Thrasher 2.0 featuring Bela Lugosi here.

Emulator II

images via
this auction

MOOG The Source

images and videos via
this auction
"The Moog Source is a monophonic microprocessor-controlled analog synthesizer manufactured by Moog Music from 1981 to 1985. The Source was Moog's first synthesizer to offer patch memory storage. The design was also the first (and only) Moog synthesizer to feature a flat-panel membrane keyboard to replace the standard buttons, knobs and sliders.

In addition to the memory capable of holding 16 presets, the Source features a 37-note keyboard, and two VCOs that can be selected between three waveforms and three octaves. Programmed presets can be saved to a cassette interface to free up the onboard memory for additional new patches. The 24dB/octave VCF has parameters for keyboard tracking, cutoff frequency, resonance, and envelope amount. There are two ADSR envelope generators that can be set in single or multi trigger modes, one for the VCF and one for the VCA. For modulation, the Source features LFO and sample and hold.

Features:
* 2-VCO
* Micro-processor-controlled
* Programmable monophonic synthesizer
* 16 memory locations
* 3-octave, 37-note (C-C) keyboard
* Arpeggiator and a digital sequencer with memory for two seqences of up to 64 notes
* First to use digital parameter access for programming, a method now commonly found in today's synthesizers, using membrane switches, a two-digit LED display and a single data knob
* VCOs have three available waveforms (sawtooth, triangle, and pulse; with pulse width modulation) and three available octaves (32', 16', and 8'). VCO2 can be detuned at fixed intervals and it can be also synced to VCO1
* Mixer section features levels for VCO1, VCO2 and Noise
* VCF (24dB/octave) has parameters for keyboard tracking (off, 1/2, and full), cutoff frequency, resonance, and contour (Moog's word for envelope) amount
* Two ADSR envelope generators, one for the VCF and one for the VCA
* Envelopes can be set in single or multi trigger modes
* LFO (triangle and square waveforms) can be routed to the VCOs and the VCF
* Sample-and-hold can be routed to the VCF
* To the left of the keyboard is the pitch bend and the modulation wheel, along with two octave-switching buttons
* These and a volume knob are the only dedicated controls.
* Back panel includes audio out, cassette interface, a recessed pitch knob (for fine tuning), and CV and S-trigger inputs and outputs
* 16 factory pre-sets are: Lead 1, Lead 2, Horn, Flute, Clav Bass, Vibes, String Bass, Harpsichord, Organ, Trill Voice, Taurus, Synthevox, Sax, Wind, Snare Drum, and Lead 1 (duplicated here so that if you wanted to, you could use this extra slot to move patches around).
* Programs are saved and loaded via a cassette interface.
* Moog's Source was their first to offer patch memory storage as well as some other new features.
* It boasted 16 memory locations so you could finally save and recall your synth patches.
* A cassette-tape jack was also implemented to transfer your patches to and from an external tape and free up the on-board memory for additional new patches.
* In an effort to modernize with the eighties, the Moog had replaced all buttons, knobs and sliders with flat-panel membrane buttons and a single data-wheel assignment format.
* Parameters are edited not with hands-on sliders and knobs but by assigning a selected parameter to the dedicated data wheel.
* Those famous monophonic Moog sounds are still inside this synth which has two fat analog oscillators and the legendary 24 dB Moog filter."

PAiA Stringz n Thingz

via via this auction

You can find more info on the Stringz & Thingz here.

ARP Quadra

images via
this auction

Note the Odyssey in the background is listed here.

Oberheim OB-X

images via this auction
"The OB-X was released in 1979 and was the first programmable polyphone synth from Oberheim. It's the direct successor to the famous SEM-based four/eight voice. The main point is, that the OB-X has the same discrete filter design as the SEM-modules - there are no curtis filter ICs as the followers OBXa and OB-8 got. But the filter is not as flexible as the SEM-one (which were multi mode) - it has a fix 12dB lowpass setting. When you open the belt, you will see boards with tons of electronics. Every voice has got it's own circuit board - they can be removed separately. A maximum of eight voice boards can be installed - mine has got six. For stereo use, every board's output is assigned to a pan pot. Every voice board has two VCOs with saw and pulse. The VCOs can be synced and crossmodulated (you won't find crossmodulation in the followers OBXa and OB-8) - so there can be generated strange and metallic waves. There's a great polyphonic portamento section, an autotune function and a hold button (which can be used as a chord memory as I found out!). Then we got the described filter section and two ADSRs for filter and amp. The sections can be modulated with the Oberheim-typical modulation matrix. An LFO with quare, triangle and S/H can modulate the LFO pitch, the filter cutoff and the pulse width (separate for VCO1 and 2). There are 32 memory locations to save your sounds. Of course you can edit programs any time - just push the edit button and turn the knobs as you like. There's a casette interface to load and save memory banks. On the backside you find some goodies: a CV/Gate interface to control voice 1 and a filter control jack, where I've connected an external potentiometer to modulate the filter cutoff without any stages - which sounds absolutely great. This direct and precise cutoff control you will never ever experience with a software synth. You can really navigate to a particular partial tone and hear it growing louder until you got it exactly! What I learned to appreciate furthermore are the Oberheim-typical levers. They allow you to bend the tones of the Oberheim like you bend a guitar string - the levers are very responsive. It's easy to bend up a note and modulate it at the same time. I admit freely: I'm not a fan of wheels - I like better the korg joystick. Unfortunately, the Oberheim-concept has been abandoned."

Maestro OB-2

via this auction

"Maestro Octave Pedal, made ca. 1974.

This is a classic octave pedal great on guitar, keyboards, even voice.
Extremely smooth tracking, it always yields a nice smooth analog bass tone. When your note decays the box will track the next loudest harmonic, sometimes 3rd, or 5th giving a cool harmony when mixed with dry signal.

The controls on the pedal are: Octave On/Off, Guitar Vol., Octave Vol, Sensitivity, Mode (Perc./Sust.)."

I'm guessing the Maestro Octave Box was designed by Tom Oberheim along with the Filter Sample/Hold FSH-1.

Synhouse DIY CV/Gate and Audio Inputs for the MOOG Prodigy

"Most Moog Prodigy synthesizers have no interface whatsoever. Only the very few last Prodigies made had CV, gate, and audio input jacks. The following plans describe a method of installing the jacks yourself, if you have a little experience with electronic repair and the soldering of wires and circuit boards. If not, these plans will allow a professional repair shop to add the analog interface jacks for you. It is best to download these diagrams and print them out on paper to look at while working on the instrument and make notes and check off the steps as you go. All repairs and modifications made to your instruments will be done at your own risk and Synhouse Multimedia Corporation assumes no liability for personal injury caused or damage to equipment or loss of use caused directly or indirectly by the use of these plans. If in doubt, don't do it!" click here for more info on Synhouse.