MATRIXSYNTH

DB-01 with Light pedal feedback - and JPTR FX Add Violence

video upload by Richard DeHove

"There's something very satisfying about the DB-01 and dark, deep drones. Maybe it's the Polivoks filter and that big knob.

In this setup the DB-01 is going into the Gamechanger Audio Light pedal in Feedback mode with everything cranked. From there into the JPTR FX Add Violence pedal and then into the Nemesis delay. This order seemed to work better than the Light pedal after the distortion. There's no audio processing in the DAW. Quotes come from a 1940s movie through the Valhalla delay.

The original noodle - which I was trying hard to keep short and sweet - was eight minutes, but how much grinding feedback drone is too much? So here we are at about four. In hindsight it would have been good to have something after the Light pedal that could more severely mess with the feedback tone. Next time :D

Lots of downloads for supporters on Patreon: https://www.patreon.com/richarddehove
Many thanks to my kind patrons who keep this channel ad-free
My website: https://richarddehove.com/"

Pigments | Prophet Rev2, Moog Grandmother, Jazz Bass, & Modular

video upload by Wake Rise Fall

"A score for that one part in the imaginary videogame I have in my head."

MFB Synth Pro Saw Pad filter variations + Dimension C Chorus

video upload by Əlәɔʇɹo ᴟuᴤiɔ

"Standard MFB Synth Pro sawtooth oscillator demonstration with variable filters (hipass 12 db/oct and lowpass 24 db/oct) in parallel mode. Plus a Waza Craft Dimension C stereo chorus pedal."

EXTREMELY RARE PPG 1002 for Tom + first ever shop tour!!!

video upload by foleytronics fx repair

"Here is a demo of the EXTREMELY RARE PPG 1002 for Tom. Plus a bonus first ever tour of the Foleytronics shop!!

For those that want to attempt to tune this synth, here is what worked for me:

The trimmer by the regulators is the CV offset; trim for 0v for the lowest key. This interacts with the CV v/oct, which is right above where the two shielded cables connect from the 20-pin keyboard connector. Trim this for 1v/oct, which can be measured at the switched oscillator CV input jack on the back of the instrument. Once these are set, you can move on.

The oscillators are tricky. They each have an initial frequency trim pot and a volt/octave trim pot. However, the initial frequency trimmer cannot be set willy nilly to A440 because their initial tuning frequency greatly affects the octave selection switches on the top panel. What I found to be most effective is to set the MASTER TUNE front panel pot to 0, the OCTAVE SLIDER to the left of the keyboard to the middle and then begin tuning. Note, every trim pot for each oscillator will affect the others for that oscillator so this is an exercise in extreme patience.

First, turn off keyboard control for OSC B and roughly center its front panel tuning pot; set its octave to +3 and put a folded piece of paper on middle C. You are now going to tune the octave selector for OSC A; this part is confusing as there is a trimmer to adjust the octave selection offset for BOTH oscillators, but only OSC B has an adjustment to “match” its octave selection with that of A. Thus, you have to use that trimmer to get OSC A perfect and then match B to A - the method that worked for me was to switch between octaves for OSC A and adjust the octave offset trimmer along with the initial frequency trim pot for A to get a perfect octave selection for OSC A over the OSC B drone.

After the OSC A octave adjustment, it’s time to adjust B’s octave adjustment. Set A to +3, and switch OSC B to +1; adjust for zero beating at the trimmer in the upper left corner of the board right at the edge of the PCB. Then, switch OSC B back to +3 and adjust its initial frequency for zero beating; repeat this until the octave selection is perfect for B.

Now, it’s time to adjust for V/octave for each oscillator. Sadly, this adjustment affects the octave center calibration we just did, so you’ll have to keep backtracking until it’s good. Adjust the V/octave trim pot for OSC A, which is directly to the left of the CV v/octave we did in the first step. You’ll now have to mess with the init. frequency for A along with the V/oct to get the oscillator to track correctly on the keyboard, but like I said earlier, you have now probably slightly messed up the octave selection so you will have to go back and do that again. Then, adjust the tuning of OSC A again and repeat this process until OSC A tracks perfectly and has good octave selection. I couldn’t really get the +4 octave to be perfect, but hey, it’s a prototype and is probably 50+ years old.

Now for OSC B; it’s very similar to A. Use the V/octave adjustment trimmer which is the lower left trim pot on the PCB along with the initial frequency trim pot to get B to track along the keyboard. Again, you’ll have to go back and adjust the octave selection, but that’s not as bad for B because its octave adjustment doesn’t mess up OSC A’s octave selection. At this point, you should be able to get OSC A and OSC B to track the keyboard and the octave selections should be there"

OLD MARTENOT WAVES SYNTHESIZER ( Pesquisa e História)

video upload by

"MAURICE MARTENOT

Nascido em Paris, ele é mais conhecido por sua invenção do Ondes (Waves) Martenot, um instrumento que ele percebeu pela primeira vez em 1928 e passou décadas aprimorando. Ele revelou um modelo microtonal em 1938.ESte é MONOFÔNICO (não produz acordes,mas pode ser arpejado com teclados)
Ele também foi responsável por ensinar a primeira geração de artistas Martenot, incluindo Karel Goeyvaerts, Jeanne Loriod, Georges Savaria, Gilles Tremblay e sua irmã Ginette Martenot.O próprio Martenot atuou como um 'ondista' com a Orquestra da Filadélfia sob o comando de Leopold Stokowski em 1930. A Feira Mundial de 1937 em Paris concedeu-lhe o "Le Grand Prix de l'Exposition Mondiale". Ele deu aulas no Conservatório de Paris durante os anos 1940."

1970s EMU vintage analog modular synthesizer catalogs

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via this auction

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"Two EMU modular system catalogs. One is an original from the 70s/80s and the other is a photocopy of an earlier one.

Both have pictures and specifications of the modules available for each system. Talks about the system and its functions, how to order etc."

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Meng Qi - Wing Pinger MInijack

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via NOISEBUG Reverb

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"COMES WITH A PROTECTIVE CARRYING CASE.Meng Qi Wing Pinger

The Wing Pinger from Meng Qi is an analog filter percussion desktop synth with internal feedback capabilities that can take you from gentle plucked tones to snarling feedback in an instant. The range of characters afforded by the Wing Pinger have to do with its shift register-based feedback FM routing, in which the output of each filter can modulate the cutoff of the other. Lest you think the Wing Pinger is a noisemaker and nothing more, the feedback FM can be dialed back to zero, giving you a playful, characterful dual filter-plucked modal resonator instrument to ping with the touch keyboard or even external audio. At sufficient resonance and feedback FM settings, the Wing Pinger can take on a life of its own, while touch control and robust MIDI and CV implementation make it versatile node in your setup regardless of its parameter settings. This version of the Wing Pinger comes with mini jacks for the CV I/O, making it a great companion for eurorack modular.

Wing Pinger Features

Dual filter/resonator instrument with internal feedback frequency modulation loop
Touch keyboard and finely tuned parameter ranges for expressive control
MIDI and CV I/O
Audio input and output"