Saturday, March 10, 2012
Arthur Jolly, Pedro Zopelar, Paulo Beto / Otto Lab fev 2012
YouTube Uploaded by rsalvagni on Mar 10, 2012
fedaden
"esq 1 ensoniq ( all pads and the high melody sound with glide at the end )
and the roland sh09 for the bass. plus some plugin processing for a ensoniq esq1 part.
and a huge reverb."
Mikes Song
YouTube Uploaded by carsonday303 on Mar 10, 2012
"Mono Evolver keyboard poly chained to Evolver Desktop and Tempest"
Buchla Boys heavy beats live patching at the Sirén Festival: 1
YouTube Uploaded by otoskope on Mar 10, 2012
"Part of the first set of the last concert at the 2012 Sirén Festival. This is a festival arranged by the students at the composition and individual programs at the Academy of Music and Drama, University of Gothenburg, Sweden.
Buchla Boys are David Sabel and Niklas Sjösvärd, and they're performing on a 1980's 5-panel Serge and a 18-size Buchla 200e, both belonging to the Lindblad Studios at the Academy. The patching is improvised, and there's a crowd dancing behind them (too dark to film). This is part of a longer set, and there's more photage coming, of higher quality.
This was filmed with a mobile camera."
TB 303 + MG ALIEN BOOSTER
YouTube Uploaded by HOX808 on Mar 10, 2012
"TB 303, MG ALIEN BOOSTER DEMO 2012"
I AM
YouTube Uploaded by davidryle on Mar 10, 2012
"DSP effects galore. One oscillator for a sound source from the modular synthesizer. A Double Deka VCO and two CGS01 sub oscillators. The Bank A is driving the sub oscillators with one sub osc channel going into the expression pedal input of an El Capistan delay. The other B bank out of the DDVCO is run through the El Capistan and a Blue Sky reverb then back into the DDVCO Linear frequency input. The sub oscillation and a mix out from the DDVCO is run through some vca which come and go slowly. The mix out from the DDVCO is also separated to route through a pitch shifter on the MX200 delay.'
The pitch data for the DDVCO is two step sequencers by synthesizers.com. The Q960 and Q119 are slowly stepping and mixed together before sending through a Q171 quantizer. The Q119 is set for random and full glide and it's cv is sent through an additional Q105 Slew Limiter. The Q119 is timed from a Yusynth VC Quadrature LFO. Two other Mega Ohm Audio LFO 2's are used for the vca's.
The large reverb effects are Audio Damage's Eos and Valhalla's Shimmer and Room delays along with a Valhalla FreqDelay frequency shifter. Recorded in Cubase6 and Final Cut Pro X."
sputterbox initial demo: bass
YouTube Uploaded by coloringpad on Mar 10, 2012
"a pll (phase lock loop) ellect applied to a steady bass drone, then thump. Go to coloringpad.org for info."
Oberheim Matrix 6 Analog Synthesizer with Original Box
via this auction
"The Matrix 6 features 20 modulation sources, including velocity and aftertouch, that route to 32 destinations. Per voice there are 2 digitally controlled analog oscillators with independent tuning, an awesome analog filter, 2 VCA's , 3 five stage envelope generators, 2 lfos, and FM and tracking generators. The range of sonic possibilities this allows are enough to keep anyone happily experimenting for a very long time."
LINN LM-1 VINTAGE ANALOG DRUM MACHINE
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
Pics of the inside below.
"For your consideration is this vintage 1981 Linn LM-1 Drum Computer drum machine. This particular example, serial 00029, was amongst the initial batch of 35 to be produced, which were famously completed in Roger Linn's own home! This beyond rare, incredibly desired, and amazingly iconic artifact is equally deserving of a museum display as it is a special section in the finest studio. With approximately only 500 LM-1s produced between 1980 and 1983, they have since become incredibly scarce and especially famous for being the preeminent digital drum machine featured on recordings by; Michael Jackson, Prince, Peter Gabriel, Kraftwerk, Kurtis Blow, Devo, Elton John, Don Henley, and many more. With an original price tag of $4,995.00, and an exclusive client list that reads more like an announcement of nominated Pop, Rock, and R&B artists for the 24th Annual Grammy Awards of February 1982 than a group of guys that want the same drum machine, it has since become near impossible to find one, let alone, buy and own one. Perhaps more relevant and applicable now than ever, this is the drum machine that started it all, and just like all great vintage equipment, it has achieved a permanent place in music history."
via this auction
Pics of the inside below.
"For your consideration is this vintage 1981 Linn LM-1 Drum Computer drum machine. This particular example, serial 00029, was amongst the initial batch of 35 to be produced, which were famously completed in Roger Linn's own home! This beyond rare, incredibly desired, and amazingly iconic artifact is equally deserving of a museum display as it is a special section in the finest studio. With approximately only 500 LM-1s produced between 1980 and 1983, they have since become incredibly scarce and especially famous for being the preeminent digital drum machine featured on recordings by; Michael Jackson, Prince, Peter Gabriel, Kraftwerk, Kurtis Blow, Devo, Elton John, Don Henley, and many more. With an original price tag of $4,995.00, and an exclusive client list that reads more like an announcement of nominated Pop, Rock, and R&B artists for the 24th Annual Grammy Awards of February 1982 than a group of guys that want the same drum machine, it has since become near impossible to find one, let alone, buy and own one. Perhaps more relevant and applicable now than ever, this is the drum machine that started it all, and just like all great vintage equipment, it has achieved a permanent place in music history."ROLAND JUPITER 6 SN 545085
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"The Jupiter 6, conforming with others in the Jupiter series, is unlike any other synth produced during the same time. Its unique sound is due, in part, to classic Roland analog technology used in its filters, modulation capabilities, and 12 analog oscillators at 2 per voice. Although it seems the JP-6 is just a scaled down version of the Jupiter 8, the Jupiter 6 features some major improvements including better tuning stability and the implementation of MIDI (The second synth to ever offer MIDI, the Prophet 600 being the first by a few weeks).
The Jupiter 6 features 12 analog oscillators (2 per voice), and is bitimbral, allowing its keyboard to be split into two sounds, one with 4 voices, and one with the remaining 2 voices. 'Whole Mode' is also available, dedicating all 6 voices to a single sound across the entire keyboard. Unlike the Juno’s, of which the Jupiter 6 shares some features, the JP-6 is equipped with two excellent, independent ADSR envelopes.
Other performance features that round out the Jupiter is an excellent arpeggiator that is capable of up, down, and up and down patterns selectable by up to a four octave range. Surprisingly enough, the JP-6 is not a complicated synth to own or operate. Everything seems intuitive and purposeful, which is the the hallmark of thoughtful synthesizer design.
The Jupiter 6 has well-rounded, clear, but aggressive sounds. As a lead synth, the JP-6 has an incredible palette that synth players will find easy to play and manipulate the sounds simultaneously in many different ways. This may be the most underrated synth as it can cut through a mix of any instruments with ease. It can also do its share of bizarre, frequency modulated beeping sounds as well.
To reiterate, this synth is in excellent condition and still retains; ALL of the knobs, slider tips, and button caps, and is in perfect working shape."
Pics of the inside below.
via this auction
"The Jupiter 6, conforming with others in the Jupiter series, is unlike any other synth produced during the same time. Its unique sound is due, in part, to classic Roland analog technology used in its filters, modulation capabilities, and 12 analog oscillators at 2 per voice. Although it seems the JP-6 is just a scaled down version of the Jupiter 8, the Jupiter 6 features some major improvements including better tuning stability and the implementation of MIDI (The second synth to ever offer MIDI, the Prophet 600 being the first by a few weeks).
The Jupiter 6 features 12 analog oscillators (2 per voice), and is bitimbral, allowing its keyboard to be split into two sounds, one with 4 voices, and one with the remaining 2 voices. 'Whole Mode' is also available, dedicating all 6 voices to a single sound across the entire keyboard. Unlike the Juno’s, of which the Jupiter 6 shares some features, the JP-6 is equipped with two excellent, independent ADSR envelopes.
Other performance features that round out the Jupiter is an excellent arpeggiator that is capable of up, down, and up and down patterns selectable by up to a four octave range. Surprisingly enough, the JP-6 is not a complicated synth to own or operate. Everything seems intuitive and purposeful, which is the the hallmark of thoughtful synthesizer design.The Jupiter 6 has well-rounded, clear, but aggressive sounds. As a lead synth, the JP-6 has an incredible palette that synth players will find easy to play and manipulate the sounds simultaneously in many different ways. This may be the most underrated synth as it can cut through a mix of any instruments with ease. It can also do its share of bizarre, frequency modulated beeping sounds as well.
To reiterate, this synth is in excellent condition and still retains; ALL of the knobs, slider tips, and button caps, and is in perfect working shape."
Pics of the inside below.
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MATRIXSYNTH - EVERYTHING SYNTH
© Matrixsynth - All posts are presented here for informative, historical and educative purposes as applicable within fair use.
MATRIXSYNTH is supported by affiliate links that use cookies to track clickthroughs and sales. See the privacy policy for details.
MATRIXSYNTH - EVERYTHING SYNTH
