MATRIXSYNTH


Friday, February 11, 2011

Yamaha DX5 vintage FM synthesizer

via this auction

"Everything works as it should, the keys feel great, the aftertouch is amazing, the most responsive I've ever played. The switches feel like new, the only noticeable sign of wear are on the sides.

This is basically a DX1 in a more affordable enclosure minus a few extras, or two DX7 synths engines in a better enclosure with better converters and other extras.

It comes with a DX voice cartridge (synth brass, #106) and a padded bag."

Control Synthesis Deep Bass Nine

via this auction

"everybody thinks this is another Tb clone, it isnt. this is a superiour (but limited) Analog synth with great vintage sound and amazing filter, they are build like a tanka and very heavy for a 1u rack synth. this also can be used as a midi to cv converter."


MAM ADX1 all analog retro drum synth with MIDI


via this auction

"This german made all analog drum synth features five parts: Metal, Hi-Hat with open a close, Snare, Synth, and Bass drum, with individual outputs, and a total of 51 knobs for live control of all sound parameters! There are also random modulation generators that effect the pitch of each sound. The synth section alone is a whole universe unto itself of frequency modulation madness. It sounds great too!"

Critical Space Item

flickr By philquadra

Video Interview with Soviet Polivoks Engineer


via Pierre:

Update: new link to the video here.

"Here's a lithuanian report about the Polivoks. It features an interview of the engeneer who created the synth and some element of soviet life! Listen to the sound of the synth at 2min10. I can't add the subtitles in the video, but here s the lithuanian -french translation! [Googlish below]
Greeting from snowy Lithuania
Regards
AHC

Gestures Gear VBlog: Giants Steps on the WX7


YouTube via AccumulatedGestures | February 11, 2011 |

"Sean wasn't happy with his first video playing the WX7 and decided to up the ante and shred some electronic sax on John Coltrane's Giant Steps, and then some general fun playing around with synth tones.

The WX7 is a vintage wind controller made by Yamaha in the late 1980s that is long since out of production. Not having its own built in sound module, the WX7 is here setup to control a Dave Smith Instruments Desktop Evolver via MIDI.

About us:
The Accumulated Gestures are an 8-piece neo-soul/funk band from Perth, Western Australia. With lead vocalist/producer Donovan de Souza being an avid collector of synthesizers and vintage keyboards as well as a current move towards incorporating more synthesizers in our band sound, our Gear VBlog aims to show the strengths and limitations of synth interfaces, synthesizers and other musical gear. The kind of videos Donovan would have liked to see when he was buying electronic gear in the first place. .

Find us at: http://www.myspace.com/accumulatedges... or add us on our more frequently updated page on Facebook."

Garfield Electronics Doctor Click


via this auction

"This is the Ultimate Syncing device (see below for list of manufactures it can be used with)
A must have for any analogue synth geek and collectors alike, run all your vintage gear in Sync .
I've not used for some time but just gave it a run through Linking a system 100 Sequencer with a Memory Moog+an Obie DX and a ARP 2600 and it performed as it should.

The Doctor Click can be driven by both steady and wildly varying sources, including click tracks, tape codes (Roland, Oberheim, Linn, etc.), synthesizer clocks, live drumming, or its own internal crystal-based clock.
The outputs consist of nine timebases (7 are fixed, two are variable), two rhythmically triggered envelopes or LFO's (12V, .5V), trigger, trigger to click converter, inverter, delay, start, and step programming functions.
The Doctor Click click has two separate channels for producing the two variable timebases each with its own set of rhythm selector switches. The first row of labels is the timebase interpretation (ie. how many clicks) and the second row is notation interpretation (eg. quarter note, eighth-note triplet, etc). While that might sound confusing, it should make sense when it's sitting in front of you. Channel 1 (four bars to 64th triplet) has Envelope 1, Gate, Time Lag, and the Auto Programmer. Channel 2 (1/4 note to 32nd note) has Envelope 2 and the headphone output (which can also be used as a second arpeggiator clock).

With its extensive masking features, it can be synced to audio such as drum loops or drum machines without clock outputs.
It also has recording & programming features that can store up to 1k of events.
The gates and triggers have adjustable pulse width, and can inverted for either falling or rising edge. The envelope outputs can be used as gates or additional clocks.
Inputs: Pulse, Tape Code A/B, Tape Code C, External Metronome Trigger, Inverter In, Delay In, Reset, Play, Enter
Outputs: 12X (Roland CR68/78, SCI), 24X (MemoryMoog, MXR), 48X (LinnDrum, Roland MC-4, E-Mu), 64X (PPG), 96X (Oberheim DSX, DMX, DX), 348X (Fairlight), DIN Sync (Roland x0xbox, Korg), Gate (5V/15V), Trigger (5v/15V), Trigger to Click, Time Lag, Envelope 1, Envelope 2, Headphone, Metronome, Inverter Out, Delay Out, 5V Start, Ground Start

Knobs: Channel 1 (PW, Attack, Decay, Amount, Gate PW), Channel 2 (PW, Attack, Decay, Amount, Headphone Level), Metronome Level, Delay Amount

On 11-Feb-11 at 15:42:37 GMT, seller added the following information:

Just want to point out my use of the unit was predominately getting various devices to talk but also the creativity & fun you can have with switching time bases i.e running a drum machine say at 100bpm and changing the clock time to the arpeggiators on my pro 600 and Memorymoog+or Jupiter 6 (or whatever you have), running at dbl the bpm or in division and then trigger LFO's on my modulars with different clocks etc so running items synced with division of X bpm there a lot to the Dr click and I have not really explored all its potential. I never had a manual until recently never needed it... a pdf manual comes via courtesy of L.Hammond thx Lorne :)"

Synthetic Sound Labs Tap Tempo LFO


Info page on this module not yet up.

http://www.steamsynth.com/Modules.aspx

Synthetic Sound Labs on eBay

Synthetic Sound Labs has been added to the "Makers on eBay" section on the right.

Synthetic Sound Labs JJP SampleCorder - Model 1450 - Preliminary Specifications


"The SSL 1450 JJP SampleCorder module is a humble tribute to Jean-Jacques Perrey and the early musique-concrete pioneers, where small snips of recordings were pieced together into new forms of musical expression. Now you can experiment using true analog sound samples that can be played back with electronic precision.

The SampleCorder is designed around an ISD2560 analog voice recorder chip, and includes compander chip to reduce noise and improve clarity.

Each module can hold two samples, each from a few milliseconds up to about 30 seconds. Each can be triggered manually via a panel mounted button, or by a gate pulse. A short "done" output pulse is available so that multiple modules can be cascaded. An onboard PIC CPU microprocessor controls timing, and is updateable by replacing a small socketed chip. Once triggered, the sample will play to the end of the sample and stop, and/or proceed to the next triggered sample. Premature retriggering or early truncation of a sample is not possible."

Synthetic Sound Labs on eBay
http://www.steamsynth.com/m_SampleCorder.aspx

Synthetic Sound Labs Steiner Filter - Model 1020

"The SSL 1020 Steiner Filter is a unique filter for sound shaping that synthesists have long admired for both it's warmth and quirkiness. Invented by Nyle Steiner in the early 1970's, this filter was used in Nyle's Synthacon synthesizer line and has been lovingly recreated and updated as part of our modular line.

At first glance, it may appear to be another 2-pole State Variable type filter with it's high-pass (HP), band-pass (BP) & low-pass (LP) outputs. But that's where things get turned upside down. The 1020 has HP, BP & LP inputs, not outputs. These allow for all sorts of CUTOFF (center frequency) controlled "mixing" of input signals. Due to the unique way it's inventor injected the inputs into the internal signal path, they tend to slightly interact with each other and the control voltages, making the 1020 a bit more organic and unpredictable than many other synth filters. The RESONANCE also interacts with the CUTOFF adding an additional natural touch and warmth. But if you really crank the RESONANCE up, you can make all that warmth go out the window because at or near oscillation, the 1020 starts to squeal and complain like a school girl tantrum. We factory adjust the 1020 to stay just below oscillation at maximum panel settings, but you have the power to adjust this by a circuit board mounted trimmer.
Controls and Connectors
- HP (high-pass) Level control
- BP (band-pass) Level control
- LP (low-pass) Level control
- Cutoff (center frequency) control
- Resonance control
- CV Amount control
- HP, LP & BP Inputs
- All Input
- CV Input
- 1V/Oct (approx.) Input
- Output

Center Frequency Range
Continuous control of filter center frequency from sub-audio to way up there!

Resonance Range
Continuous control of filter resonance (Q) from 0 to 10
(Factory adjusted just below oscillation at max)

Inputs
Nominally accept 10V PP.

Output
Ranges from 10V PP or higher, but can be overdriven at high input and resonance levels.

Power
+15V@..ma, -15V@..ma, Synthesizers.com 6 pin Molex standard.

Size
Width - Two Moog Units (MU)
Depth - 2.75" behind panel

(Due to continual product improvements, specifications are subject to change without notice.)

Availability
In stock!

Price
$225 USD (plus shipping)

Please visit our Ebay store for fast, convenient ordering."
http://www.steamsynth.com/m_SteinerFilter.aspx
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