Check out the groovy aesthetics of the user manual font & art below. Kind of interestring. It was the 70s...
"History
Wolfgang Palm is a German musician and inventor who was the founder and owner of Palm Products GmbH (PPG) and the inventor and creator of various pioneering technical designs for analog and digital synthesizers. He is widely acknowledged as the father of digital synthesis and as a trendsetter in the use of computer technology in the making of electronic music.
Palm's interest in synthesis technology began as a keyboardist in various local bands in his hometown of Hamburg, Germany. His namesake corporation began operating as early as 1975, manufacturing modular synthesizers in small numbers for electronica act Tangerine Dream and other musicians.
Palm is arguably most famous for the invention of wavetable synthesis, a concept which he developed in the late 1970s when he created his Minimoog-like synthesizer - the 1020 - featuring digitally controlled oscillators instead of the voltage-controlled oscillators that his 1002 synthesizer and all other analog synthesizers of that time were using. He also created the 360 Wavecomputer that would later become the renowned PPG Wave series. Palm's design was the impetus for the creation of the highly successful PPG Wave synthesizer, which was used by numerous bands throughout the 1980s and beyond.
THE PPG MODULAR SYSTEM
100, 200, and 300 Modules 2 Cabinets 1 Keyboard Each Module Hand Labelled by Wolfgang Palm
Cabinet one consists of :
3x 301 Voltage Controlled Oscillator 2x 104 Low Pass Filter 1x Oscillator with 3 Oscillators and Oscillator Driver 1x Wolfgang Palm Noise Generator 1x 217 Voltage Controlled Filter 3x 103 VCA 1x 309 Signal Mixer 4 x 109 Premix Interface 1x 111 CV interface/Reverb/Output Bass Treble/Power Supply
Notes: The keyboard comes with all the original German Manuals 230V Power supply and various patching cables
Users: PPG Synthesisers have been favored by a number of artists most famously the German Band Tangerine Dream / Klaus Schulze with such classic albums as Rubycon, Stratofear, Sorcerers"
"I love my 60f, most owners do. The low end already is great, I though it could be improved though with mod, a sub oscillator.
Here I use a CD4024 IC and a simple circuit. The circuit is available on the net. Google mod for JEN SX1000 and the circuit is the same.
Parts Used: CD4024 IC 14 pin socket FOR 4024 47k resistor 100k resistor 500k lin pot (with switch - or use additional switch)
The 2 resistors shown at the end of the video (5:32) on the sub oscillator board were not actually used. These were from a previous mod, and I just repurposed the board.
The stills at the end (5:41) show signal out from the synth and signal in to the synth
Please note - I cannot guarantee results if you chose to mod your own synth. This video is for information only and is my own personal experience and not binding"
"System 2 is our second complete system, offering a creamy-sounding, creative
take on classic subtractive synthesis. Its ideal for powerful and creative bass
and leads, with unrivalled sound quality. Plus a number of ACL-only tricks up
its sleeve.
1 x ACL Multifunction Discrete VCO 1 x ACL Variable
Sync VCO 2 x ACL Oktave 1 x ACL Discrete Core Ladder VCF 1 x ACL
Gate Mix 2 x ACL Multi II 1 x ACL Envelope x 3 2 x ACL QLFO 2
x ACL VC Dual Amp 1 x ACL Audio Interface 1 x 2 Row 84 TE ACL Case
incl.1 x ACL KAZU PSU"
"System 2 is our second complete system, offering a creamy-sounding, creative
take on classic subtractive synthesis. Its ideal for powerful and creative
bass and leads, with unrivalled sound quality. Plus a number of ACL-only
tricks up its sleeve.
Honestly, we weren′t sure we′d get as far as
System 2 calling the first ‘System 1’ was a bit of a leap of faith! After all, a
key point of modular is that you can mix and match components. But we realised
lots of users were grouping our modules together in their racks anyway. Not only
that, but many had run out of space in their main rack and still wanted to add
some ACL kit. And then there were the people who wanted a complete, portable
live-friendly system for gigs. So we gave it a shot it′s all modular, after all
so you can still connect it however you like – and it worked!
So why
this configuration? Following the success of System 1, we received many requests
for a more conventional subtractive synth design (1 had a heavy focus on
creative stereo sound). So the focus is on creating powerful bass and leads,
with plenty of modulation options, whilst still allowing scope for
experimentation, and harnessing the unrivalled power and sound quality that make
our individual modules so popular. The result has some very distinct
specialities and the unmistakable flavour of our modules, and is designed to
slot easily into a bigger set-up too. Let′s have a walk through those
modules…
The sound sources
The main sound sources come
courtesy of a Multifunction Discrete VCO. This module ignores traditional
designs, offering a unique and powerful sound, plus ACL-specific innovations
such as multi-waveform-type sub-oscillators. These latter are modulatable and
fully-syncable to the main oscillator. In fact you can even mix and match
between five types of each. Having two of these allows super-phat, layered
sounds, or fantastic stereo or detuned voices. Not only that, but the linear
detune feature allows unique beating effects, the timing of which remain
unchanged from the lowest note to the highest, rather than speeding up and
slowing down proportionately to the pitch..
Reinforcing the VCO (and
adding a host of additional creative possibilities) is a Variable Sync VCO. This
is a precise, excellent sounding VCO, providing five simultaneous waveforms, a
VC variable-sync feature (that works brilliantly with the main VCO),
exceptionally powerful linear FM (you need to hear what this can do to liven up
System 2 bass patches to believe it), and loads more.
Keeping these
VCOs modules company are two Oktave modules allowing precise transposition of
sequences and melodies up and down by four octaves, or precision detuning by
+/-7 semitones.
Processing and mixing
On filtering duties,
we have placed our Discrete Core Ladder VCF. If you′re building a classic
subtractive monosynth-inspired system, what else to pick but a silky
liquid-sounding Moog-inspired filter? This design goes much further, though,
offering a unique features such as BOOST, which ensures that there′s no
low-frequency loss, even at high resonance settings. Not only that, but all
filter pole settings 6dB, 12dB, 18dB, and 24dB/octave have their own individual
outputs which can be routed and used simultaneously for some fantastic effects
(imagine, for example, an Oberheim Expander filter with Moog
characteristics).
Pulling the individual oscillator sounds together
is a Gate Mix module. This is our mixer-with-benefits… on steroids… allowing you
to combine up to four main sound sources (complete with CV/gate muting) plus an
Aux input (which could be anything from a fifth oscillator for power chords to
another mixer in your modular set-up). Ideal for uber patches, there′s also the
option to simultaneously tap into two groups (inputs 1+2 and 3+4) in addition to
the main sum of each, making gate Mix, in addition to many other things, a
simple high-quality stereo mixer.
Routing
Key to creating
great modular patches is the ability to duplicate audio and CV sources for a
range of parallel processing, mixing and syncing options. As such, we′ve
included two Multi II modules, suitable for everything from precise
synchronisation of multiple tone generating VCOs to waveform mixing and
subtraction. And the inclusion of two offers up far more potential for combining
your System 2 with your other modular gear.
Cutting shapes
Envelope
shaping comes courtesy of an Envelope X3. This module is based on the acclaimed
Roland 100M, but vastly enhanced to deliver peerless punch and consistency. It
delivers three ADSR envelopes, with potential for lightning-fast response, ideal
for drums, bass, and other sounds that benefit from fast and tight envelopes.
But that′s not all: Long and Short modes (with overlapping ranges) mean it′s
perfectly suited to pads and drones too. LFO duties are supplied by no less
than three of our prized QLFO modules. This design offers unprecedented
versatility for an LFO, going far beyond conventional modulation duties, with an
extraordinary frequency range from snail-slow to dog-whistle territory.
Four
simultaneous outputs per module offer a sine wave and three phase-shifted copies
– 90º (cosine), 180º (inverted sine), and 270º (inverted cosine) – allowing a
world of fun (more on that here). The frequency of these can then be voltage
controlled (with an attenuator at the input), while another CV input then allows
the LFO to be pitched by volt/octave, with solid tracking good over 2-3 octaves.
But that is not all the QLFO can do, it can even operate as a rudimentary sine
wave VCO – and remember… System 2 includes three of them!
Twice the
fun
In any modular system, VCAs are a fact of life, like shower
curtains, bedsheets, and toothbrushes. But – like shower curtains, bedsheets,
and toothbrushes – that doesn′t mean they can′t do a great job, look sexy and
generally be a joy to use! We like to think our VC Dual Amp modules fit the
bill, and so we′ve added two of them, offering up a total of four VCAs.These
linear VCAs all feature unrivalled accuracy and precision, as their unique
design ignores conventional designs and is based instead on circuits found in
precise measuring devices, such as oscilloscopes. They also offer an uncommon
level of creativity thanks to the ability to handle both audio and control
signals, and with innovative features like a summed output for each pair –
alongside the individual outputs – and an Aux input, enabling a range of fun
effects such as modulated stereo panning and crossfading.
On the road
again?
Whatever kind of noises you make with a modular set-up, at
some stage you′ll want to take that audio out into the world, and our Audio
Interface is the answer. Whether you want an unbeatable signal path from modular
system to studio (and vice versa), or to take it on stage and combine it with
other equipment (without needing an additional mixer), it delivers. The
combination of a studio quality signal path, flexible routing possibilities, and
a headphone amplifier – capable of driving both high and low impedance
headphones, with low distortion – makes the connection between these different
environments effortless and sonically transparent.
All of this is
contained in an 84HP EVZ-1 case, our lightweight, high-end Eurorack cabinet.
Precision crafted from , with red oak side panels to add stability and strength
(and a little sex appeal) it integrates our KAZU switching PSU and is wired to
our EVE-1 busboard, The result is one of the safest most consistent supplies for
your modules (ensuring the longest possible life and performance), with
extremely low background noise and simply outstanding sound quality.
Finally,
System 2 ships with an AC adapter, and 20 patch cables, so it′s ready to use,
right out of the box."
"Recently made TTSH Rev 2 Arp 2600 clone in a stained hardwood case. This unit has a linear power supply designed by Altitude specifically for the TTSH. It is much more stable with this power supply, as well as much less noisy. It can be switched between 110 and 240 volts. It also has Elna Silmic electrolytic capacitors and carbon resistors in the signal path. Elna Silmic capacitors are some of the best electrolyics on the market, and carbon resistors can handle transients better than metal films, to help keep that vintage sound that people love about the ARP 2600.
This unit has a gate booster to allow it to interface with other equipment, and filter cap mod which removes thumps and bumps from the initial design. A baffle mod is installed to allow the inbuilt speakers to function properly. It also comes with the standard spring reverb and 20 coloured patch cables.
Absolutely beautiful synth.Why have cotton when you can have silk :)"
