Oberheim Matrix 6R with ObiMagix6000 Controller

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You can find some demos of the ObiMagix6000 controller by Volt Crafty in previous posts here.

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1987 Kawai K5 Digital Multi-Dimensional Synthesizer

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Update: removed the auction link. More popped up with the same pics. Thanks to gridsleep in the comments for catching this one.

Keeping this post up for the pics and for anyone searching for them to verify auctions. These haven't been posted before.

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Performance // Chordal Ambient Tape Delay Patch // Instruōctional Patching

video upload by Instruō

Tutorial video here

"This is a performance recording of a patch I created while I was supposed to be prepping for the Tágh overview video.
It grew and became too fun a patch not to make a video of.
I deep dive on the patch techniques and break it down in detail in dedicated video.
The full Instruōctional Patching video will be live on Dec 30th at 4PM (GMT)

Core Techniques:
• Harmonic chord progression using Harmonàig/Saïch
• Cascaded pitch shifting delay
• Sub-harmonic waveshaping with through-zero frequency modulation
• Rhythmic textural "bird noise" by oscillator cross-modulation

This is quite a dense patch with a lot of subtle modulation and some interesting waveshaping techniques involved.
Fundamentally it is a patch using 3 parallel voices as audio sources which are mixed via multiple crossfaders.

The primary voice is the harmonic aspect which utilises a Saïch controlled by a Harmonàig to define the chord progression basis of the composition.
The Harmonàig can either be controlled via CV for preprogrammed/randomly self generated progressions, or can be manually played in Performance Mode.
When a new Root note is defined, the GATE output controls the Cèis ADSR which triggers a cascade of events that influence the patch.
The Cèis envelope output (acting as an AR) sounds the chords through a VCA which routs to the Lúbadh, which is configured as a tape delay.

Various gate and trigger signals from the Cèis clock two S&H modules as well as toggling signal routing for variations in parameters such as interval offsets on the Saïch (which introduces tension tones to the chords), input mix of the Saïch voice between the Lúbadh's decks and varies the index ratio of the Cš-L's complex voice.


There is a parallel bass voice which follows the root of the Harmonàig chord progression and is triggered by the primary voice's ADSR envelope (Cèis).
The tone is produced by the trigger output striking/pinging the I-ō47 filter which is tuned to match the Root of the Harmonàig voice. The percussive tone from the Band Pass output is waveshaped via a tanh[3] channel to restrict its amplitude and add a bit of saturation to the timbre. This signal then modulates a neóni configured in TZFM configuration to act as a waveshaper over the tone.

The High Pass output is converted to an aggressive unipolar positive square wave signal via the AND gate of the eãs. This signal is used in parallel to the TZFM waveshaping to soft sync the neóni at the audio rate of the Root note frequency.
This clock signal patched to the soft sync input is toggled on and off via a latching switch (tàin) controlled by the release stage gate output of the Cèis.
The result when the soft sync is engaged is a sub-harmonic introduced to the voice.
As the voice is triggered at each segment change of the ADSR this gives a longer rhymic meter that nicely matches the harmonic rhythm of the composition.


Finally, there is a generative textural voice which sits in the higher frequency bandwidth to serve as a chaotic percussive element somewhere between hi-hats and bird noises. This comes from a self modulated Cš-L.
The sine wave of oscillator B is used as the sound source. The resulting tone is gated through a VCA by the OR logic result of oscillator A's PWM voice (inverted at the eãs ~ gate) and the clock pulse of the Lúbadh's left deck.
The Lùbadh clock is the stable element in this gating signal as the Cš-L is fundamentally unstable due to extreme cross-modulation.

The cross-modulation is exponential on both oscillators and the wavefolder of oscillator B is used to modulate oscillator A which is in LFO range.
The wavefold depth of oscillator B is modulated in addition to the FM depth via the INDEX control.


For final seasoning, an øchd is used to add additional movement to the patch keeping things more dynamic. Vibrato is added to the Saïch voice using the first LFO from the øchd tunes to ~4-5Hz. This vibrato naturally softens the the voice as it is reverberated and echoed in the Lúbadh."

Hertz Donut MKIII DEMO clean FM tones with melodic sequence

video upload by brandon logic

"Hertz Donut is the only sound source (two outputs).
Aux out on the HD is going through Rabid Elephant Natural Gate (opened quite a ways so its not doing much gating) then its going through the 4ms DLD for some delay. Aux is set to output operators A and B.
Main out going through TAKAAB 2LPG then through Happy Nerding FX Aid for some reverb.
Sequence from Mutable Marbles going into the main v/oct.
LFO's patched into fold and mod.
In the second half I plug another sequence into operator A and an LFO into operator B."

Clownfest 7 full 20 min set on Dirtywave M8

video upload by Avrilcadabra

"This was my set I put together for clownfest 7 using just the M8

Thanks everyone who caught it live at clownfest, was amazing to see the hype in chat and the support.

Dynamo track is available here You can buy this track at https://avrilcadabra.bandcamp.com/rel..."

MINIMOOG VOYAGER ELECTRIC BLUE - Handmade miniature 1/6 scale.

video upload by Ronaldo Lopes Teixeira ROLT

[diy] A drone jam with three syncDRONE synths

video upload by planeteatrr

"More infos and the links to the gerber production files: https://modwiggler.com/forum/viewtopi..."

"The syncDrone is a very simple drone synth based on a CD4093 cmos nand gate ic. It contains three square wave oscillators that are mixed together. Those oscillators are also fed into one of the NAND gates of the CD4093, which creates a more rhythmic and crude sound. The oscillators can be synced to an external signal. This feature is maybe the most interesting part. When the output of a vco is fed into sync input of the syncDrone it will produce quite interesting waveforms. It fits perfectly in a 1590B diecast enclosure."

Synth Jam 85 - Behringer Deepmind 12 & Moog Sub 37

video upload by Marcus Padrini

"Primeira synth jam combinando o bom e velho (nem tão velho assim) Moog Sub 37 e o recém chegado (nem tão recente assim) Behringer Deepmind 12!

Duas curiosidades técnicas sobre essa jam:

1- O lead do sub 37 foi programado para soar como um Minimoog do Rick Wakeman na década de 70. Como o Sub 37 não consegue soar tão brilhante naturalmente, o recurso foi utilizar um slope do filtro bem menos agressivo que os 24db/octave.

2- Esse timbre de synth polifônico do Deepmind 12 é muito simples de criar. Ataque rápido e pequena modulação de pitch através do LFO. Cada voz do deepmind pode ocupar um posicionamento no pan.

!!!!Quer aprender sobre sintetizadores e síntese sonora? https://www.udemy.com/course/sintetiz...

!!!!Aprenda sobre a tecnologia MIDI: https://www.udemy.com/course/tecnolog...

Me siga também no Instagram: https://instagram.com/marcuspadrini"

Korg - DW-8000 - Exploring the Presets - Midiverse - TV

video upload by Midiverse - TV

"What's up everybody? Welcome to Midiverse - TV! Today we're checking out the DW-8000 from Korg. Let's have a look!"

Korg - DW-8000 - Exploring the Presets - Part #2 - Midiverse - TV

video upload by Midiverse - TV

Rare Custom Blue MacBeth M5N

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"The M5N is the second and slightly enhanced version of the M5.

After owning a MacBeth M5 I ordered these with a painting job according to my wishes. As a huge fan of most iconic ARP synthesizers these M5Ns should be similar in look to an ARP Blue Marvin/Meanie. It finally looked absolutely stunning with a kind of white/turqouise color combo."

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