Thursday, June 02, 2016
Ace Tone (Roland) Rhythm Ace FR-6 + Roland RE-201 Space Echo test
Published on Jun 2, 2016 SubTokyoShop
"Ace Tone (Roland) Rhythm Ace FR-6
+ Roland RE-201 Space Echo test
recorded with Drawmer LX20 compressor"
subtokyoshop on eBay | subtokyoshop on Reverb
Note: eBay and Reverblinks are affiliate links for which the site may be compensated.
Oberheim OB-X Vintage Analog Synthesizer (1979) "Erstmal Wind..."
Published on Jun 2, 2016 RetroSound
"(c) 2016 vintage synthesizer demo track by RetroSound
all synthesizer sounds: Oberheim OB-X Analog Synthesizer from the year 1979
drums: Roland TR-808 (1982)
recording: multi-tracking without midi
fx: reverb and delay
The OB-X also called the Oberfett (engl. Oberphat) is the fattest polyphonic analog synthesizer ever. The sound is very different to the later OB synths."
Lost in Space Again (Modular Synthesizer and Korg Volca Sample)
Published on Jun 2, 2016 TheKraist
"This is Braids in CSAW mode, filtered by a Doepfer A-105 SSM. The reverb and delay is from Mutable Instruments Clouds."
Korg Synthe-Bass SB-100 Analog Synthesizer SN 780343
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
Update via Steven Cain in the comments:
"It is actually based off of the MaxiKorg K3 (800DV) from the era. From the same lines as the 700, 700S and 770, the 800DV had an architecture more closely resembling this than any of the other 3 models, mainly in that the controls were set on a faceplate instead of in an organ topping design as the 700 & 700S were. The sliders and switches are the exact same as the 800DV, and if my guess is correct (I have unfortunatly not had the pleasure of playing one) it is in the deep 64' waveform the 800DV offered, a truly floor rattling range, far beyong the standard 32' offered on most synths since."
Original auction description:
"The Sound.
This thing is unbelievably fat. It's a one-oscillator monosynth, but they really do not make them like they used to. It has a smooth but slightly gritty sound all of its own. It does not sound like the syruppy-sweet Roland synths of the same era, and it also does not sound like the MS-20 and other MS-series synths that KORG released starting in 1978. The filter is most likely based either on the MiniKorg 700 or the 770 from the same era. There are five selectable waveforms: Triangle, Square, Saw, Pulse and "Phaser". All of them sound organic, alive and FAT. The Triangle wave seems to have some kind of attack transient at the beginning that gives it a girthy bass kick kind of sound. I suspect the "Phaser" form is either PWM or something similar. How it is achieved is beyond me. I have gigged with it live and it sits very nicely at the bottom of a mix. This thing just oozes power. Additionally, even though the keyboard is only 25 keys (two octaves), the user can select three different octave ranges, extending the full range to five octaves. In the higher range, even though it is a "bass" synth, it gives you a great seventies style prog lead--instant Keith Emerson, should you need it. It can everything from singing lead lines to fat bass plucks to duck farts.
Features.
This is an idiotically simple synth to use (I mean that in the best way possible). There are no modulation routings, no LFO, minimal envelope control. However, the simplicity is actually a strength. There is no setting that sounds bad. The designers really tuned it right--it's one big sweet spot. There is a "Brightness" switch (Resonance) which is either on or off. There is a full "Traveler" (filter cutoff) slider that is usable enough. No mod wheel here, but a couple pitch up and down buttons. It fits in a suitcase style tolex case and it just looks hip. I loved bringing this thing to performances and opening it up and sticking it on a stand. Though envelope controls are few, there is enough control to shape healthy bass sounds.
Additionally, if you are interested in a MIDI retrofit, there is already a place for a 5-pin MIDI socket. As this was created years before MIDI, you might wonder why. It seems that there may have been a plan for a DIN socket for some type of control, so they punched the hole in the housing of these models but then never used it. It is located right beside the power switch.
Condition.
As should be evident from the pictures, the whole tolex case is intact. It features the letters "TGHS" on the front in white. This is most likely from a high school band, and I do not know the origin. Functionally, it is in 100% working order, which still amazes me sometimes as it is 40 years old."
via this auction
Update via Steven Cain in the comments:
"It is actually based off of the MaxiKorg K3 (800DV) from the era. From the same lines as the 700, 700S and 770, the 800DV had an architecture more closely resembling this than any of the other 3 models, mainly in that the controls were set on a faceplate instead of in an organ topping design as the 700 & 700S were. The sliders and switches are the exact same as the 800DV, and if my guess is correct (I have unfortunatly not had the pleasure of playing one) it is in the deep 64' waveform the 800DV offered, a truly floor rattling range, far beyong the standard 32' offered on most synths since."
Original auction description:"The Sound.
This thing is unbelievably fat. It's a one-oscillator monosynth, but they really do not make them like they used to. It has a smooth but slightly gritty sound all of its own. It does not sound like the syruppy-sweet Roland synths of the same era, and it also does not sound like the MS-20 and other MS-series synths that KORG released starting in 1978. The filter is most likely based either on the MiniKorg 700 or the 770 from the same era. There are five selectable waveforms: Triangle, Square, Saw, Pulse and "Phaser". All of them sound organic, alive and FAT. The Triangle wave seems to have some kind of attack transient at the beginning that gives it a girthy bass kick kind of sound. I suspect the "Phaser" form is either PWM or something similar. How it is achieved is beyond me. I have gigged with it live and it sits very nicely at the bottom of a mix. This thing just oozes power. Additionally, even though the keyboard is only 25 keys (two octaves), the user can select three different octave ranges, extending the full range to five octaves. In the higher range, even though it is a "bass" synth, it gives you a great seventies style prog lead--instant Keith Emerson, should you need it. It can everything from singing lead lines to fat bass plucks to duck farts.
Features.This is an idiotically simple synth to use (I mean that in the best way possible). There are no modulation routings, no LFO, minimal envelope control. However, the simplicity is actually a strength. There is no setting that sounds bad. The designers really tuned it right--it's one big sweet spot. There is a "Brightness" switch (Resonance) which is either on or off. There is a full "Traveler" (filter cutoff) slider that is usable enough. No mod wheel here, but a couple pitch up and down buttons. It fits in a suitcase style tolex case and it just looks hip. I loved bringing this thing to performances and opening it up and sticking it on a stand. Though envelope controls are few, there is enough control to shape healthy bass sounds.
Additionally, if you are interested in a MIDI retrofit, there is already a place for a 5-pin MIDI socket. As this was created years before MIDI, you might wonder why. It seems that there may have been a plan for a DIN socket for some type of control, so they punched the hole in the housing of these models but then never used it. It is located right beside the power switch.
Condition.
As should be evident from the pictures, the whole tolex case is intact. It features the letters "TGHS" on the front in white. This is most likely from a high school band, and I do not know the origin. Functionally, it is in 100% working order, which still amazes me sometimes as it is 40 years old."
Roland SH-101 SN 320382
ROLAND SUPER JUPITER MKS-80 REV 5 SN 522198
Roland SH-101 Analog Synthesizer + RE-150 Space Echo test
Published on Jun 2, 2016 SubTokyoShop
"Roland SH-101 Analog Synthesizer + RE-150 Space Echo test
SH-101 controlled by Arturia Beatstep with CV/Gate"
subtokyoshop on eBay | subtokyoshop on Reverb
Note: eBay and Reverblinks are affiliate links for which the site may be compensated.
Future Retro Introduces the 512 Touch Keyboard Playing the Arp 2600 & Buchla Music Easel
Future Retro 512 Touch Keyboard Playing the Arp 2600
Published on Jun 2, 2016 FutureRetroSynths
"Simple test to show the Future Retro 512 keyboard controlling the Arp 2600 modular synthesizer."
Update: New video with the Buchla Music Easel added:
Future Retro 512 touch keyboard playing Buchla Music Easel:
Published on Jun 2, 2016
"Simple demo of the Future Retro 512 keyboard controlling the Buchla Easel. The 512 has an adjustable CV output so you can achieve .469V to 1.34V per octave control voltages to control a wide variety of synths including the common 1V/Oct synthesizers, and this 1.2V/Oct Buchla. Works with EML and EMS synthesizers too!"
New demos here: Future Retro 512 touch keyboard plays the EMS Putney, Minimoog Model D, EML 101, & Eurorack
Previous posts featured the assembly of the new 512 Touch Keyboard from Future Retro. We now have details and what it looks like completed.
Details via Future Retro
"The 512 is a capacitive touch keyboard, packed with a unique blend of truly musical features to enhance your creative experience. The 512 is available with or without the optional rack ears that allow it to fit in a standard 19" rack enclosure, taking up only 4u spaces.
Why is capacitive touch better? Quite simply, eliminating mechanical moving parts found in traditional keyboards makes a product that will never wear out, as mechanical keyboards do. No more intermittent key contacts, or failed aftertouch circuits to worry about! In addition, capacitive touch provides a much faster response time for playing notes, and allows multiple forms of expression to be executed by the performer.
There are five main functions of the 512. It can act as a keyboard, arpeggiator, sequencer, MIDI to CV converter, and MIDI to MIDI converter. The 512 can control both MIDI and CV/Gate synthesizers simultaneously. Pitch, Pitch Bend, Mod Wheel, Gate, Velocity, Aftertouch, and Clock are all available in both their MIDI and CV form. CV's follow the 1V/Oct standard with positive polarity Gate signals, allowing the 512 to control the majority of analog synthesizers both past and present.
KEYBOARD
The 512 provides 9 octave ranges for the 29 full-sized keys (although shorter in length than typical keys) with response to Velocity and Aftertouch. Users can define one of five different Velocity and Aftertouch curves to apply to the keyboard, and dial in the range for each curve to customize the response. The Pitch Bend provides positive and negative pitch bends, and the bend range can be adjusted for full or half range. Mod Wheel is also provided as a modulation source.
ARPEGGIATOR
Published on Jun 2, 2016 FutureRetroSynths
"Simple test to show the Future Retro 512 keyboard controlling the Arp 2600 modular synthesizer."
Update: New video with the Buchla Music Easel added:
Future Retro 512 touch keyboard playing Buchla Music Easel:
Published on Jun 2, 2016
"Simple demo of the Future Retro 512 keyboard controlling the Buchla Easel. The 512 has an adjustable CV output so you can achieve .469V to 1.34V per octave control voltages to control a wide variety of synths including the common 1V/Oct synthesizers, and this 1.2V/Oct Buchla. Works with EML and EMS synthesizers too!"
New demos here: Future Retro 512 touch keyboard plays the EMS Putney, Minimoog Model D, EML 101, & Eurorack
Previous posts featured the assembly of the new 512 Touch Keyboard from Future Retro. We now have details and what it looks like completed.
Details via Future Retro
"The 512 is a capacitive touch keyboard, packed with a unique blend of truly musical features to enhance your creative experience. The 512 is available with or without the optional rack ears that allow it to fit in a standard 19" rack enclosure, taking up only 4u spaces.
Why is capacitive touch better? Quite simply, eliminating mechanical moving parts found in traditional keyboards makes a product that will never wear out, as mechanical keyboards do. No more intermittent key contacts, or failed aftertouch circuits to worry about! In addition, capacitive touch provides a much faster response time for playing notes, and allows multiple forms of expression to be executed by the performer.
There are five main functions of the 512. It can act as a keyboard, arpeggiator, sequencer, MIDI to CV converter, and MIDI to MIDI converter. The 512 can control both MIDI and CV/Gate synthesizers simultaneously. Pitch, Pitch Bend, Mod Wheel, Gate, Velocity, Aftertouch, and Clock are all available in both their MIDI and CV form. CV's follow the 1V/Oct standard with positive polarity Gate signals, allowing the 512 to control the majority of analog synthesizers both past and present.
KEYBOARD
The 512 provides 9 octave ranges for the 29 full-sized keys (although shorter in length than typical keys) with response to Velocity and Aftertouch. Users can define one of five different Velocity and Aftertouch curves to apply to the keyboard, and dial in the range for each curve to customize the response. The Pitch Bend provides positive and negative pitch bends, and the bend range can be adjusted for full or half range. Mod Wheel is also provided as a modulation source.
ARPEGGIATOR
Super Nice Roland Jupiter-8 Cover from Stardust Synth Covers
via Stardust Synth Covers
Thought this one was particularly nice. Be sure to check out their others.
Easel Orange Noise Study
Published on Jun 2, 2016 Todd Barton
"The Buchla Music Easel does not have a Noise Source. But . . . with some McGyvering: noise happens. The patch is title Orange Noise for all the orange colored patch cables it uses, not for the acoustically defined "orange noise". For better audio go to:
https://soundcloud.com/user7621213/ea..."
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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
