Monome Norns Shield Kit with Case Kit (Unopened)

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"This is a brand new, unopened Monome Norns Shield Kit and a Case Kit.

All images (except the last one showing the packaging) are from the original marketplace website"

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History Of K - Rare Korg Analogue Synths Audio Sampling CD

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"Very scarce 1996 audio CD by DF System Lab. It contains hundreds of multi-samples across a large range of exclusively Korg, mostly rare analogue, products over 94 tracks. CD in great condition, unmarked as can be seen in the photos.

Instruments featured are:

- CX-3
- PS-3100
- PS-3200
- PE-2000
- 800DV
- M500 SP
- Sigma
- Lambda
- Trident
- VC-10
- MS-20
- Mono/Poly
- Polysix
- Poly-61
- Poly-800
- DW-8000
- DDD-1
- DDD-5
- KPR-77
- KR-55B
- Donca Matic
- Stageman"

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Roland MT-32 Synth/Sound Module with Original Box, Manuals, and Cables SN 870320

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Yamaha CS60 SN 1497

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"Unbelievable original 1970s Yamaha CS60 Synth. This was imported into the UK very early on in their production and was only the second one in the UK. It was imported by Mark Stevens of Mankind, who famously used this on Top of the Pops in 1978 to play Dr. Who. He can be seen playing this exact synth on their recording that day. It has been in his possession ever since and we recently had the opportunity to purchase this off of the friend who received it upon his death. It really is a synth of legends! It is in full working order, and we have videos of it working for anyone interested. When we received it it was quite dirty so we've given it a wipe down but have left the tape on the front for provenance. The exterior case is good condition with a few marks throughout. This really would be an amazing addition to any studio or collection."

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Access Virus C Desktop Analog Modeling Synthesizer SN 10202713

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Roland GAIA Synthesizer hidden PCM Sounds/Presets | not in the manual

Agus Synth S.

"Second video to show how to access the PCM sounds using a controller. Hope it helps to those of you who has this vintage synth.
The sounds are dry, you cannot use the GAIA's effects
Is not documented in the manual. Enjoy it"

Back To The Unknown - A Berlin School Experiment (Blofeld, Specular Tempus)

Lanthan O'Ide

"A track written by a student of mine: My computer!
Yes, I've written an experimental program that let's my pc compose it's own sequences and chord progressions, and even improvise a bit. The result is a Berlin School track, and I'm just tweaking knobs because I felt like doing so.
Anyways, I hope you enjoy this little experiment! ^^
================================
If you'd like to jam along:
The key is C# minor, and the BPM should be 110.
================================
About the background of this project:

You may be wondering, what's the point of teaching a machine to make music?
Is this supposed to replace human musicians?

No. Here's my point:

I've grown tired of people telling me — and themselves — that they'd love to make music, but are "just not creative enough".
Because a) it's wrong, and b) by telling themselves that they can't do it, they deny themselves the joys of creating music.
But how do I prove it's wrong?

Well, take a computer. It may be very smart, but it's objectively as creative as a potato.
So if I can teach a computer to write it's own music... Doesn't that prove that there's no such thing as "not being creative enough to make music"?
You're welcome. Now stop not believing in yourself, folks!
================================
How everything is wired:
BeatStep Pro ⇒ (And then a miracle occurs) ⇒ Blofeld ⇒ Specular Tempus

The BSP does not actually do much, I'm just using its toggle buttons to start / stop sequences.
The Blofeld plays both the sequence and the pads, it's running in multitimbral mode.
All the audio is routed through the Specular Tempus for some reverb.
================================
How the computer came up with this:

At first, a sequence is generated at random, with the following rules:
1. The sequence is 8 steps long.
2. Every step is set at random either to an C#4, F#4, G#4, B4 or C#5.
3. A step must not be set to the same note as the previous or next step.

Then the sequence is played two times.
Afterwards, one of the 8 steps may be chosen at random and its note be changed.
Again, rule 2 and 3 have to be followed.
Then the sequence is again played two times, is changed again, and so on.

But where does the chord progression come from?
Well, it's the same algorithm, but slightly different:
1. The sequence is 4 steps long.
2. The notes are not eighth notes as before, but last for 4 bars.

Then, these notes are given to my DIY chordizer, the 'Arclight', which uses them as root notes for full chords. And in the end, everything is sent to the Blofeld.
================================
A goodie for those reading the description:

Maybe you think, 'wait a minute, Lanthan, you Matt Lowne imitating madman, didn't you do this before?'.
Very perceptive, dear viewer! :)
Yes, in the very first days of this channel I've indeed taught a microcontroller to do this.
But this time, I've written that code into a VST plugin, so it fits nicely in my DAW, is tempo-synced, and I can implement all sorts of parameters without having to solder!
Oh, and I can share it with others over the internet.

So yeah. You can get this experimental 'Unknown' sequencer on my website.
In case you'd like to try it for yourself! ^^
================================

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Korg Wavestate Berlin School Ambient Jam, Alexanderplatz

Waveformer

"This is a berlin school style jam on the Korg Wavestate using only one custom patch for the whole jam, recorded in one take. The jam uses the Wavestate's arpeggiators combined with wavesequences to create interesting melodic, timbral and rhythmic variations. Also, I finally figured out how to to proper racheting (note repeat) with retriggering envelopes. Note to self: read the manual more carefully next time. The Wavestate really is a fantastic synth for improvised generative music. The patch is available for download (see the video description below).

My music on Bandcamp: http://waveformer42.bandcamp.com/

The patch/performance uses four layers. Layer A, C and D use arpeggiators. Layer B is used for chords. All layers have overlapping keyboard zones, so the same notes goes into all four layers. The three arpeggiators are configured with note sorting off. This makes the arpeggiator somewhat resemble a very simple looper, repeating the played pattern.

Layer A plays an arpeggiated melody. The gate wavesequence has 16 beats. The first 8 steps have a few rests (gate length 0), the last 8 steps are all rests (giving more space to melodies from the other layers). I change the gate wavesequence loop length between 8 and 16 throughout the jam, so sometimes this layer is more busy than others. Also I used the step wavesequence and the Pitch LFO to add a strong vibrato on every 31st beat, kind of simulating tape flutter on a tape delay (yes, I have been listening to Nils Frahm's "Says" and "All Melody").

Layer B is a pad sound used for chords. I use a foot switch to hold the notes for the chords, leaving me with both hands free to tweak knobs. This patch uses the Amp LFO to create variations in the pad. The Pitch LFO modulates the Amp LFO Frequency so it varies slowly from slow to fast. I change the Amp LFO Intensity and waveform during the jam, so sometimes the pad is more plinky-plonky than smooth, like at the end of the jam.

Layer C is another arpeggiated melodic part. I finally figured out how to create proper ratcheting (note repeat) on the Wavestate. The envelopes can be set to trigger from any source, not just note on! So I set the filter envelope to be triggered by Mod Processor 1. And Mod Processor 1 does a scale operation on the Amp LFO and the Step Sequence Lane. The Amp LFO is tempo synced with frequency set to dotted 32nd notes and waveform set to saw ramp up. In the Step Sequence Lane, a step with value -100% means a normal note, and a value of 0% means racheting with proper retriggering of the filter envelope. Yay!

For Layer C, I also play with the sample wavesequence, changing loop start and end. There's a very nice interplay with the loop length and the number of notes that the arpeggiator plays. Fun times.

Layer D does bass, with notes from the arpeggiator. Gate wavesequence has lots of rests, making the arpeggiator much more interesting. Again, the number of notes that the arpeggiator plays combined with the rythmic pattern laid out by the gate wavesequence results in lots of variations.

Performance mod knobs:
Knob 1: Layer A (arp 1) Octave
Knob 2: Layer B (pad) Octave
Knob 3: Layer C (arp 2) Octave
Knob 4: Layer D (bass) Octave
Knob 5: Layer A (arp 1) Amp Level
Knob 6: Layer B (pad) Amp Level
Knob 7: Layer C (arp 2) Amp Level
Knob 8: Layer D (bass) Amp Level

I use knob 5-8 to fade the 4 different layers in and out. And knobs 1-4 to change the octave for each layer, so layer D can play bass most of the time, but by setting a higher octave, it is playing an arpeggiated melody. Layer C plays an arpeggiated melody most of the time, but using the octave knob, it can also do bass duty.

The patch is called "WF Alexanderplatz" and can be downloaded from the files section of the "Korg Wavestate Q/A Sharing" facebook group.

The audio is recorded to SD card on a Zoom R16 and normalized in Audacity. Video is recorded on iPhoneX. Audio and video is synchronized in DaVinci Resolve 15."

Vintage TRITON Really Sound Better Than Modern KORG KROSS?

Woody Piano Shack

"Some viewers claim that the little entry-level KORG KROSS 2 synthesizer doesn't sound as good as the legendary top-of-the-range KORG TRITON from 1999.
That seemed like a good topic for a video so I loaded the KROSS with some TRITON presets and went to town.
Let's compare the pianos, pads, bass, drums of each synth to see if we can settle this, once and for all."

Woody Piano Shack DX7 videos