Published on May 18, 2013 xilslab·26 videos
"The XILS V+ is comparing to its hardware model, using the Famous Strings."
Follow-up to XILS-lab Announces XILS V+ Vocoder Synth
Saturday, May 18, 2013
Roland MSQ-700, Bit 99 and TR-505
Published on May 18, 2013 SynthManiaDotCom·243 videos
"Jamming with the Roland MSQ-700, a simple but effective hardware sequencer from 1984. A (Crumar) Bit 99 offers the synth sounds, and a Roland TR-505 provides the beat.
In the days before DAWs, hardware sequencers were often used to build the structure of synth-based songs of the '80s."
Moog Little-Phatty Stage 2 Kick-Drum Samples.
"Four sets of Moog Little-Phatty Filter Kick Drums. Recorded in Ableton. They go from a sub-bass/heartbeat, 707 style, 808 style and 909 style. Four bars per sample, 2 bar samples of 4/4 time beats and single drum-hits in a low C1. Feel free to cut them up and use them for whatever you'd like."
via Bobby Shipe on The MATRIXSYNTH Lounge
"Moog Little Phatty Stage 2 Filter Bass/Kick Drum Samples. Free for anyone who likes them!!!
I tried to go for a 707-ish up to a 909-ish style by micro-adjusting the Overload, EGR and Resonance on the Filter and the Decay, Sustain and Release on the Envelope Generator. If you like them please feel free to download/share them and sample away!!! There's single hits after each section for cutting up/sampling. This was just a cool Sound Design experiment with the Moog and it does pretty rad drums. Very powerful! Oscillator Drums are next!!!"
8-bit saga: The Murkwood Vale (Level 2)
Published on May 18, 2013 acemonvw·26 videos
Items used:
Gameboy Advance
GBA to MIDI cable (spritesmod)
Logic studio
Onyx 1220i mixer
Nikon D5100
via Michael Dennis Raleigh on The MATRIXSYNTH Lounge
Items used:
Gameboy Advance
GBA to MIDI cable (spritesmod)
Logic studio
Onyx 1220i mixer
Nikon D5100
via Michael Dennis Raleigh on The MATRIXSYNTH Lounge
A Patch A Day, No. 10
Published on May 18, 2013 hamiltonulmer·10 videos
"Very unsatisfying patch, and an unsatisfying (hilariously silly) take. It's been that kind of day, though.
The premise of this was essentially an attempt to use a bit of what I've learned about using the Quadra percussively, and what I've come to understand about the Make Noise modules, and do something different with them.
The whole enchilada - percussion and pitches - runs into the MMG, which opens, closes, and strikes according to clocks, envelopes, and Maths. That's the premise behind this whole thing. It is conceptually pretty delightful, really, even if this recording doesn't do it justice.
The Wogglebug clocks the Clock Divider, which then goes out to several bits here and there. Took the stepped CV out of the Wogglebug, piped it into Ch. 3 of the Maths, attenuated the signal so it wouldn't be too strong, and put it into the Tame Machine. If the signal into CV IN is too strong, the Tame Machine often switches patches, which is quite annoying. The output of that goes into the DPO, which provides the weak stepped bits I would turn up and down via the mixer (hardly comes out in the recording), using the FINAL out.
The kick sound comes out of the Dixie II, which opens and closes via one of the Quadra channels, using the Dual Index for VCA duty. I use the other channel of the Dual VCA to take in the RING MOD from the Wogglebug, which was fed Ch. 3 of the Maths, oscillating wildly.
The same stepped CV out of the Wogglebug is what is opening and closing the MMG to create the random RING MOD attenuation.
Some of the clicky sounds are just the hard snap of the Quadra. Some of them are STRIKEs into the MMG, which was being struck through the Graphic Sequencer, whose steps were determined by the Clock Divider. Pretty standard idea, overall.
The bit where I am plugging into the two different Maths channels is interesting, at least conceptually. The Maths here does a lot, and is sort of the real star. I had a patch cable going from the MMG MODE IN, and depending on which channel of Maths I plugged in, would do different things to the filter. We know Ch. 1 was going into the RING MOD IN of the Wogglebug, and it was outputting at a pitch frequency. So plugging into that would open up the MMG. Plugging into Ch. 4 would output much more lightly. Between the two, you get a really nice effect, overall.
I also hit the limit of what I can reliably do with one hand, while the camera films. I want to get more performant with the modular synth, and it is impossible to do with only one hand. So this video looks silly.
Good days and bad days. One must roll with them."
"Very unsatisfying patch, and an unsatisfying (hilariously silly) take. It's been that kind of day, though.
The premise of this was essentially an attempt to use a bit of what I've learned about using the Quadra percussively, and what I've come to understand about the Make Noise modules, and do something different with them.
The whole enchilada - percussion and pitches - runs into the MMG, which opens, closes, and strikes according to clocks, envelopes, and Maths. That's the premise behind this whole thing. It is conceptually pretty delightful, really, even if this recording doesn't do it justice.
The Wogglebug clocks the Clock Divider, which then goes out to several bits here and there. Took the stepped CV out of the Wogglebug, piped it into Ch. 3 of the Maths, attenuated the signal so it wouldn't be too strong, and put it into the Tame Machine. If the signal into CV IN is too strong, the Tame Machine often switches patches, which is quite annoying. The output of that goes into the DPO, which provides the weak stepped bits I would turn up and down via the mixer (hardly comes out in the recording), using the FINAL out.
The kick sound comes out of the Dixie II, which opens and closes via one of the Quadra channels, using the Dual Index for VCA duty. I use the other channel of the Dual VCA to take in the RING MOD from the Wogglebug, which was fed Ch. 3 of the Maths, oscillating wildly.
The same stepped CV out of the Wogglebug is what is opening and closing the MMG to create the random RING MOD attenuation.
Some of the clicky sounds are just the hard snap of the Quadra. Some of them are STRIKEs into the MMG, which was being struck through the Graphic Sequencer, whose steps were determined by the Clock Divider. Pretty standard idea, overall.
The bit where I am plugging into the two different Maths channels is interesting, at least conceptually. The Maths here does a lot, and is sort of the real star. I had a patch cable going from the MMG MODE IN, and depending on which channel of Maths I plugged in, would do different things to the filter. We know Ch. 1 was going into the RING MOD IN of the Wogglebug, and it was outputting at a pitch frequency. So plugging into that would open up the MMG. Plugging into Ch. 4 would output much more lightly. Between the two, you get a really nice effect, overall.
I also hit the limit of what I can reliably do with one hand, while the camera films. I want to get more performant with the modular synth, and it is impossible to do with only one hand. So this video looks silly.
Good days and bad days. One must roll with them."
Yamaha CS60 SN 1744 with Mods
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"***SPECIAL MODIFICATIONS HAVE BEEN DONE TO THIS SYNTH:
1) Touch switches- 5 of them, that have built in LEDs to indicate status and to switch to the modded presets etc
2) Modded Presets- the original (fairly crappy) presets have been specially modded
3) External Control Voltage Outputs- send each oscillator to external processors
4)DB25 interface ports- one male, connected to the special mod boards, 1 female, never used yet. just installed on back of synth
5) Custom PCB boards- two in the cage (they are the blue ones) and two next to the power supply, which contain 14 relays and control cables etc
6) Mystery! I am not sure how the mods work or exactly what all of them do! I know some of them are for external CVs and preset changes..."
via this auction
"***SPECIAL MODIFICATIONS HAVE BEEN DONE TO THIS SYNTH:
1) Touch switches- 5 of them, that have built in LEDs to indicate status and to switch to the modded presets etc
2) Modded Presets- the original (fairly crappy) presets have been specially modded
3) External Control Voltage Outputs- send each oscillator to external processors
4)DB25 interface ports- one male, connected to the special mod boards, 1 female, never used yet. just installed on back of synth
5) Custom PCB boards- two in the cage (they are the blue ones) and two next to the power supply, which contain 14 relays and control cables etc
6) Mystery! I am not sure how the mods work or exactly what all of them do! I know some of them are for external CVs and preset changes..."
Spectral Audio Syntrack SN 960415
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"Good things can come in small, light-blue packages! The Syntrack combines a digital wavetable oscillator with an analog filter (Cascade Filter). The filter output passes through the analog Distorter which shapes your sound to be powerful and rough. It's a 1-unit rack module with full MIDI implementation and an aggressive analog sound. Front panel controls seem slim, but everything you need is right there to create simple but fat synth sounds.
The Syntrack offers 99 Programs and easy programming because each parameter has a pot. Every tweak of a knob will send MIDI controller data to your sequencer or other MIDI gear. In fact the MIDI CC#'s are printed under each knob right on the front panel. And each parameter responds to MIDI controller input data as well. The Syntrack can also respond to velocity and aftertouch. The wavetable can be expanded by a second chip to double the memory. The Syntrack also offers an external audio input for running external sounds through the filter.
Simple effective analog mono-synth sounds for the modern studio. Its sounds are unique, aggressive and the whole package is very affordable. A great alternative to more common rack-mount mono-synths and older, less reliable vintage gear."
via this auction
"Good things can come in small, light-blue packages! The Syntrack combines a digital wavetable oscillator with an analog filter (Cascade Filter). The filter output passes through the analog Distorter which shapes your sound to be powerful and rough. It's a 1-unit rack module with full MIDI implementation and an aggressive analog sound. Front panel controls seem slim, but everything you need is right there to create simple but fat synth sounds.The Syntrack offers 99 Programs and easy programming because each parameter has a pot. Every tweak of a knob will send MIDI controller data to your sequencer or other MIDI gear. In fact the MIDI CC#'s are printed under each knob right on the front panel. And each parameter responds to MIDI controller input data as well. The Syntrack can also respond to velocity and aftertouch. The wavetable can be expanded by a second chip to double the memory. The Syntrack also offers an external audio input for running external sounds through the filter.
Simple effective analog mono-synth sounds for the modern studio. Its sounds are unique, aggressive and the whole package is very affordable. A great alternative to more common rack-mount mono-synths and older, less reliable vintage gear."
1975 PAIA 2720 VINTAGE MODULAR SYNTHESIZER
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"For sale is this vintage 1975 Paia 2720 modular synthesizer. This DIY analog synth kit was one of PAIA's more popular products, and remains a formidable vintage mono synth, as well as, a fantastic introductory instrument for those interested in modular synthesis. This particular 2700-series synth is fully loaded and appears to have been expertly assembled. Displaying the obvious signs of wear illustrated in the numerous photos, this synth spent the last 20 years in a studio's storage facility accumulating oxidation, spider webs, and dust..." Pics of the inside below and the auction.
via this auction
"For sale is this vintage 1975 Paia 2720 modular synthesizer. This DIY analog synth kit was one of PAIA's more popular products, and remains a formidable vintage mono synth, as well as, a fantastic introductory instrument for those interested in modular synthesis. This particular 2700-series synth is fully loaded and appears to have been expertly assembled. Displaying the obvious signs of wear illustrated in the numerous photos, this synth spent the last 20 years in a studio's storage facility accumulating oxidation, spider webs, and dust..." Pics of the inside below and the auction.
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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
