Two synth spotting videos sent in via Dustin who had the following to say (2nd video below):
"I don't recall ever seeing an EML 101 onstage with any of the big 70's radio bands -of course, it's almost always the MiniMoog, Arp 2600/Odyssey, etc. So I was a bit baffled trying to figure out exactly what synth this is during this live video.
It's a bit hard to see, and it's on a custom raised stand facing the audience, separate from the connected keyboard.
The tip off for me that it might be an EML 101 was the distinct metal closing latch that you can see here on the keyboard.
As always, this killer synth sounds great, and kudos to him for having the guts to play a bit of a different rig than seemed to be on everyones elses stage at the time.
Anybody know of another big band like this using EML's live?
Update: some mentions of other artists that used the EML 101 in previous posts here.
In this video you can clearly see that this is an EML 101 (pause at 0:52).
"You're watching the official music video for Foreigner - 'Double Vision' from the album 'Double Vision' (1978). 'Double Vision' reached No. 2 on the Billboard Hot 100."
The EML 101 Synthesizer turns 50 this year! I was working with the late and great Walter Sear at Sear Sound Studio when he introduced me to this ground-breaking synth. He was also a partner with Robert Moog and instrumental in developing the Minimoog. I used this synth on the first 2 Foreigner albums on the tracks - 'Feels Like the First Time, Cold As Ice, Damage is Done, and Spellbinder.
1) using generator (C harmonic minor) to make a Init Sequence with Prophet 6
2) add some Juno60 sounding stuff using Step Mode
3) delete some Events - Live Eraser
4) Drums (Jupiter Xm) - Step Mode
5) recording Bass & Pads from G2X - Live Mode
6) mute some Tracks
7) add another Bass (Jupiter Xm) Track - Step Mode
8) small Melody by MicroFreak - Live Mode
9) showing Track Transpose...
Preface: Sometimes developer are so deeply connected to their project that they don't reach customers, so they don't manage to transport the real message. Hence this preface, which should explain the basic idea behind the concept of MidiTraC.
The actual inspiration comes from a video showing "Vince Clarke" and the "BBC Computer". Based on this, plus a lot of imagination and feedback from beta testers, the current version of the MidiTraC sequencer was developed.
The initial spark was the idea of the polyphonic step sequencer, which is often found in hardware synthesizers. Unfortunately many implementations are only half-hearted and have many limitations (monophony, number of steps or complicated impractical handling). MidiTraC tries to counter these shortcomings.
MidiTraC can handle 16 tracks, each track is assigned to a fixed midi channel. The tracks can be independently muted, quantized, deleted or transposed.
All midi events, that arrives at the midi input are recorded. Therefore all settings have to be done at the midi input source, e.g. the choice of the midi channels. Usually the input source is a Midi-Keyboard, but it can be everything that send midi notes or CC data.
The principle is comparable to an audio Looper, with the difference that the amount of data is not generated by the time axis, but by the number of recorded events.
The device works on the basis of five slots, each slot can handle patterns up to 1024 midi events (a pattern manage 16 midi channels).
Notes can be generated, recorded live or step by step. An infinite number of overdubs are possible, each of these overdubs can have different lengths [Loop]. The longest recorded loop, represented here by the total lengths [Bars] (from 1 to 999 Measures).
Every operation can be done while running, so patterns can be loaded, saved, copied or merged to/from the Slots (for now, there are 128 memory locations). There is always one [Undo] step possible. [See the user manual for more].
Quick Specs:
+ 16 tracks, 1024 events (notes / midi CC) per pattern
+ 5 patterns with variable pattern lengths: 1 to 255 bars
+ Scales and quantization on recording or via ChannelQuantize
+ 18 quantization grids 1/64 - 1/1 (including triplets & dotted notes)
+ Note Editor (Microtiming 1/192, Pitch, Velocity, Duration, Channel)
+ unlimited smart overdubs with variable loop lengths (consolidate)
+ polyphonic step input with individually adjustable gate lengths
+ Pattern Generator (polyphonic / monophonic / drums / scales)
+ individual transposing / muting (live/lock) for all midi channels
+ Merge / load / save while sequencer is running...
Since this is the last batch I'll be making of this design I thought I'd put together another collection of footage from the camera, this time footage filmed out of a train window. It was filmed in the cameras 640x480 VGA resolution which I think looks quite nice!
The LoFi Future Pocket Glitchamatic is a re-housed circuit bent camera based on a currently produced generic branded 5MP digital camera (capable of recording 720p AVI video files)
The circuit bends are brought out onto the new front panel in for form of six push buttons (5 latching one momentary for the GLITCH! function)
The Effects... The pair of latching buttons labelled NEON result in a pink and green colour pallet that capture bright scenes in a surreal light. One of these buttons turns the effect on and off, while the other switches between two effect types. The dual-coloured led signifies the selected mode by either shining green, or red and will not illuminate when the effect is turned off.
The other pair latching buttons labelled BANDING create banding effects across the image. There are two types of banding and can both be selected at once. The bi colour LED here shines red for one mode, green for the other and orange when both are selected at once.
The latching button labelled NOISE introduces a cool lofi, grainy noise with a blue/purple hue. The single colour LED signifies when this effect is on or off.
All of the effects mentioned above reliably produce valid video files and pictures just like it was originally intended with the unmodified camera.
The GLITCH! button however creates unexpected, heavy glitches that veer into the unstable and experimental. It is a momentary button for this reason. In video mode it produces major frame drops in the recorded footage (you wont see this apparent on screen at the time of recording) Used sparingly in video mode, it can produce some great corruption effects. but go to heavy with it and it will spit out an unplayable video file!
In photo mode the GLITCH! button is a much more usable tool, though it sometimes will create a corrupt image file, it has a much better success rate in creating glitch imagery you could never have imagined! Its a truly experimental effect for the adventurous artist willing to accept the odd corrupt file for some heavy glitch gold!
Specifications: Video: AVI (1280 x 720 or 640 x 480 resolution) Photo: JPEG (2592 x 1944 or 2048 x 1536 resolution) USB web cam mode resolution up to 640 x 480 Internal rechargeable battery life (3+ hours of use on a single charge, or can be powered externally via USB) MicroSD card slot (up to 32GB)"
Note auction links are affiliate links. See the site's privacy policy for more info.
"A very nice example of Roland's dual JX-8P synthesizer. Tested in fantastic working condition with minor cosmetic imperfections. Includes original sheet music stand, manual and AC power cable."
"Limited Edition model. Comes in box with silver limited edition carrying case, patch cables, keyboard controller and all accessories. Mint condition."
"Up for us a very unique and very rare Hand Made in American MTI Auto Orchestra from the late 70s. It’s an all Analog VCO first generation full band auto accompaniment machine with built in simi programmable Drum Machine, Expression Pedal controlled String Machine and Foot Pedal controlled Bass Synth. It’s in very good condition with normal wear. Everything works as it should and it sounds so good that your jaw will drop!
The Drum Machine sounds very similar to a Roland CR 78 mixed with a Roland CR8000. Programming it is very similar to those machines as well with a plethora of push button rhythm variation and fill options. You can also mute and and unmute individual kit pieces for build ups and break downs.
The String Machine sounds very lush and reminiscent of a ARP Solina. It’s controlled by the expression pedal and you have different chord options to choose from with your foot! You also have the option to do monophonic string Melodies controlled by the foot pedal keyboard. You also have the option to have different rhythm variations of the strings the perfectly sync to the drum beat. How cool is that!
The Bass Synth sounds reminiscent of a Roland TB 303 mixed with a Moog Taurus. That is controlled by the foot pedal keyboard and like the string machine section has the option for it to sync to the drum beat or played live. It will also follow along with the expression pedal chord of your choice when the in that mode.
Each section has a volume control and the string and bass section have limited by useful tone shaping controls.
This thing is the real deal and a serious drum machine or synth collectors dream machine. Very few of these machines were made and I have never seen one in this good of condition with the accompanying foot pedals. It’s the original “Band In A Box” and you can do complete sets just with this. Perfect for Indie, Lofi, Dreampop, Experimental, Techno or Folk musicians who want to add the magic of this machine to their music."
