Saturday Synth Porn: Here are a few more shots, via Sweetwater, of the new Moog Taurus III bass pedals.

Synth Porn Saturday: The Moog Taurus III Bass Pedals in all their glory.

Click on the image to get the full-screen HD surround-sound photo of this droolworthy butt-shaker.

Moog’s selling these for 2K. Check the big photo and you’ll see why it’s going to be worth it.

Preliminary Specifications:

• 100% Analog Sound Engine based entirely on original TAURUS I circuits
• “Taurus I” style
• 2 VCO Oscillators, ADS Contour Generator, 1 VCF Filter, Output VCA
• PRESETS: 16 Banks x 4 presets = 48 Total Programmable Bass Sounds
• BANK 0 will contains the Original Taurus I Presets: VAR, TAURUS, TUBA, BASS
• MIDI: DIN and USB, Merging and Routing
• ARPEGGIATOR: MIDI Sync, TAP TEMPO, Internal
• CV Inputs: VOLUME, FILTER, PITCH, GATE

via Big City Music

Developer Eric Archer is now shipping his Andromeda MK-1 and MK-2 drum machines, DIY minimal drum machines “designed as an experiment of making the most minimal drum machine possible using analog circuitry”.

In the video above, Archer demonstrates the two new drum machines, how they can interact and how you can control them in real time.

The Andromeda MK-1 and MK-2 drum machines are available for $55 each as DIY kits.

Here’s another demo. This one features 12 of Archer’s tiny drum machines:

Click here to view the embedded video.

The Andromeda MK-1 analog drum machine has a minimal sequencer with sixteen preset patterns, selectable by the red switch block.  The pushbutton restarts the patterns.  This feature allows you to shift the timing of the rhythm when synchronized with other Andromeda Space Rockers instruments.

The sound of the MK-1 is from a pair of damped sine wave oscillators, which are triggered simultaneously.  The oscillators are reffered to as “X” and “Y”.  Their pitch is controlled by the photocells AND the capacitors labeled X1,X2 and Y1,Y2.  The capacitors control the overall range of pitches that it can play.  Larger value capacitors here make lower pitches.

The square grid of holes is called the Personality Center.  You can use it to add additonal circuitry to your MK-1 to change its character.  I will publish the Personality Center mods as soon as I get a chance.

The Andromeda MK2 analog drum machine has a minimal sequencer with sixteen preset patterns, selectable by the red switch block.  The pushbutton restarts the patterns.  This feature allows you to shift the timing of the rhythm when synchronized with other Andromeda Space Rockers instruments.

The sound of the MK2 is from an analog white noise generator.  This noise is filtered by a resonant filter, and the cutoff of the filter is controlled by the photocell on the left side of the unit.

The sequencer triggers an envelope generator (EG).  This creates a signal that controls the duration and volume contour of the sound.  The EG is controlled by the photocell on the right side of the unit.

The EG’s signal is sent to a voltage controlled amplifier (VCA).  The VCA chops up the steady output from the filtered white noise generator into little bursts of sound, controlled by the EG.  This is what you hear at the output.

The sound of the Andromeda MK2 is like a primitive electronic snare drum / cymbal / handclap.

Hollow Sun has announced plans for a new virtual instrument based on the rare and amazing Hammond Novachord – a polyphonic analog synthesizer released in 1939!

The Novachord is sort of the B3 of synthesizers – a huge, unwieldy beast that sounds like nothing else.

Unlike the B3, though, the Hammond Novachord has largely been forgotten. They were expensive, few were made, and few have survived because of their complexity.

The Novachord features divide-down oscillators and individual envelopes and LFO for each note. Yeah – this thing could do 72-voice polyphony in 1939!

Here’s an example of what this 70 year-old monster synth can sound like:

Imagine if this technology had taken off!

The Hammond Novachord Sample Library

Hollow Sun is working with Novachord owner Dan Wilson of Hideaway Studios in Bath, England, to capture the sound of this beast in all its epic glory.

Here’s what they have to say about this project:

Work has begun on this and tentative sampling sessions are beginning to reveal what lies ahead of us – textures that would not be out of place on a modern synth 70 years on in 2009 but with a strangely ‘earthy’ and ‘organic’ quality quite unlike I’ve heard before, full of flawed nuances and subtelty. The Novachord doesn’t generate sounds … it breathes them in gasps and grunts and squeals and whispers!

It’s early days. As time allows, I shall be bringing news of progress on a (hopefully) regular basis … so bookmark this Blog to watch us through our laboratory’s musty window. Dan and I aren’t quite ponsing about in white coats here (I favour a good tweed and a robust brogue!) but it feels a bit like it as Dan probes and regulates the 70 year old valves and massive capacitors with voltmeters and oscilloscopes and I work the resulting samples into an accurate representation of this incredible instrument.

No release date or pricing has been set.

Kinetic Labs has introduced Mot-Box – a sound generator built for musicians and sound designers.

According to developers, “It’s capable to produce sounds from drones to helter-skelter noises.”

It retails for 250 Euro.

Functional details below. Audio demos at the Kinetic Laboratories site.

Synthesis Bakis Sirros, aka Parallel Worlds, sends word via the synth forum that a new Serge M-odule has been released:

Its the ‘KlangShifter’ m-odule.

it includes the following modules (from left to Right):

DTG (Dual Transient Generator), MIX PRO (Mixer Processor), FREQUENCY SHIFTER, C/M (a Gate switch, plus lin and exp attenuators), X-Fader.

the official price is 2400 USD.

it is a great m-odule for anyone wanting to get the Serge Frequency shifter module in M-format, plus of course , vc-dual envelope generation, vc-slewing, vc-audio/trigger dividing, vc-gate delay, envelope following, cv mixing/scaling/offseting, vc-X-fading, audio vca, attenuation (exp. and lin.) and manual gate generation

If  you’ve used the Serge Klangshifter, leave a comment with your thoughts on it!

The Realistic Concertmate MG-1 is vintage analog synthesizer that was distributed by Radio Shack under their “Realistic” brand name.

It was one of the worst synths that ever bore the Moog name. But, as the video demonstrates, that doesn’t mean it couldn’t make some great analog sounds.

Features:

• Two oscillators with sync & detune, one producing either a Square or Sawtooth waveform, with the other producing either a Pulse or Sawtooth waveform.
• One low pass filter/VCF, that can use the envelope generator, has limited keyboard tracking, and is capable of self oscillation.
• Limited envelope generator with variable attack and release, and a switchable sustain (no decay).
• Oscillator 2 can be tuned independently or synced to oscillator 1.
• Noise generator.
• Ring modulator (called “Bell Tone”).
• Polyphonic oscillator. This oscillator is routed through the filter, but not through the envelope generator or LFO.
• LFO that can modulate the oscillators and the filter using a triangle, square or random waveform
• Portamento (called “Glide”)
• External Control inputs for pre-MIDI CV/Gate.

The Concertmate MG-1 is notorious for it’s inclusion of a cheesy polyphonic organ sound and for using black foam on the interior which decays into a sticky black sludge over time.

If you’ve used the Moog Realistic Concertmate MG-1, leave a comment with your thoughts!

The History Of The Moog Realistic Concertmate MG-1

Synthesis Technology’s Paul Shreiber, who’s known for designing the Cadillac of modular synths, the MOTM, has explained the origin of the Concertmate MG-1:

Radio Shack has no engineering. Rather, that falls (er…’fell’) under TSD (Tandy Systems Design). Also, twice a year Radio Shack holds a private version  of COMDEX/CES, just for them! Vendors line up 50 deep and present their wares.

Back then (early ’80s) about 40% of gear in a Radio Shack was bought ‘outside’. Most electronics was made in a Korean factory that Tandy owned a majority  share called EnCal (EnCal made all of Pioneer’s and Alpine’s car stereos there).

So, during one of these mini-trade shows who is on the presentation list (which TSD got in advance) but a one ‘Dr. D. Luce’. Well, when I saw Mr.  PolyMoog on the list I had to see this. So sure enough here he wanders in with a hand-made small synth. He demos it. Bernie Appel, the #1 decision maker (er…the *ONLY* decision maker of what went in the store or not) had this type of conversation:

BA:  What the f*** is that piece of s***? (BA enjoyed treating all new vendors this way. This was his equivalent of “Hello.”)

DDL: It’s a music synthesizer prototype. [Proceeds on a 3 minute demo. You had 5 minutes to present. Period!!]

BA:  (interested, but certainly not going to show it to the Yankee geek) How the hell do you plug it in?

DDL  points out the 1/4″ jack.

BA:  Where in the holy hell, in my store (they were always referred to as “my stores”) does that thing go? Up my ass?

See, RS had not a single piece of gear that had 1/4″ jacks! All RCA. BA knew this.

DDL at this point looks like he’s gonna puke. He’s quivering & sweating like a whore in church (sorry, that’s another BA expression!)

BA:  Play me a tune. [DDL one-fingers a classical thingy.]

BA:  That damn thing busted? What’s with this 1 finger shit? [DDL explains about monophonic blah blah blah.]

BA turns to me.

BA:  You know what the hell he’s talking about?

Me:  (thinking this is a trick question) Err…yeah.

BA to DDL: We’ll look at it. NEXT!!!!

So began the Luce/Schreiber effort. What he had was the boards out of a Minimoog, no A440 osc, no noise, in a box. So, I got handed that, designed  the MG-1 version (added the organ stuff BECAUSE BA was convinced that typical  RS customers wanted more than 1 note). Added RCA jacks, ring mod do-dad. Then, had to specify parts that Moog never had to use: cheapo pots. I’ll admit it: CHEAPO. They were ALPS and I think we paid (back then) about 23 cents apiece.

That is because the RS gross profit margin was an unheard of 63% (the average of ALL the Forture 500 is like 8%) and lastly, I spent about 3 weeks on just the panel layout and color scheme & wrote the Owner’s Manual along  with, oddly enough, Steve Leininger who designed the TRS-80. He played a Vox  in a jazz band and BA wanted his opinion as well.

Luce and I went back & forth about 5 months until they delivered the “pre-production” units. Moog made them, Tandy supplied most of the parts (we had a company in Japan that bought parts and resold them to Tandy. One day I’ll tell my funny modem capacitor story.)

So, the story was:

• Moog presented the original idea to RS
• They dumped it on me. I had to make it “Radio Shack compliant”. Which meant a re-design. Used the 3046 + Tel Labs tempco for the VCO. More Electronotes than Moog! Moog ladder filter, 3080 VCA. Prototype had mod wheel; *PUNT!*. Cost like $3. Get real.
• Moog built it.
• Tandy had 18 months exclusive. Moog then made the Rogue which is my design without the organ/ring mod, wheels back on.
• No, I didn’t get a free MG-1 or a Rogue.
• No, I didn’t get a lot of money. At that time I was making about $21,500/yr.

Final note: NO!!! I DID NOT pick that stupid black felt that lays over the sliders, then turns to tar. That was Luce’s deal. But, I DID get Luce to send me *every* piece of Moog literature at the time: still have it!

Paul Schreiber
Synthesis Technology

Resources:

• The Moog Realistic Concertmate MG-1 at cykong
• Synhouse plans for adding MIDI to a Concertmate MG-1 synthesizer
• Video via Thalassa77: During the last few days I’ve been restoring this Moog Realisitic Concertmate MG-1 and now the synth is like new. The Moog MG-1 is basically a Moog Rogue with a polyphonic section, it has 2 VCO , 1 LFO with S&H , 1 AR envelope , noise,ring modulator and a genuine Moog filter. The sound is amazing and you can get a lot of different kind of sounds from deep basses to soft leads and brass sounds. On this video i’m just showing a few of sounds that can be created on moment with this little synth
• Wikipedia entry

Here’s the first version of the laser cut and engraved Casper Electronics Drone Lab housing:

Some of the details may change, but the general design is set. An alternate design may be offered which features an extended faceplate with blank space for adding extra control hardware.

The Drone Lab is a 4 voice analog drone synth, rhythm generator and FX processor. It is capable of generating rich, textured soundscapes, hypnotic drones and complex rhythmic sequences.

A complete parts kit & PCB are available for $200.

Synthmeister Dieter Doepfer demonstrates his little friend – the tiny, but mighty, Doepfer Dark Energy analog synthesizer.

via Synthiefrau

The Yamaha CS-50, a vintage synthesizer from 1976,  is a scaled down version of the classic Yamaha CS-80 and CS-60 synths.

It offers 4-voice polyphony, with 1 oscillator per voice.

While it has a much simpler architecture, it offers a relatively inexpensive option for getting the classic Yamaha CS sounds.

If you’ve used the Yamaha CS-50, leave a comment with your thoughts!

Resources:

• Yamaha CS-50 at VSE
• Old Crow’s Synth Shop
• Video via lovesvintagesynth

This is a demo of the Synthesis Technologies MOTM-650, a 2U wide, full-featured 4-channel MIDI-CV converter.

Features include:

• Voice allocations settable as four 1 voice, two 2 voice, or one 4 voice group – each voice group separately addressable via MIDI
• Voice assignment modes on a per voice configuration: Poly 1, Poly 1 steal, Poly 2, Poly 2 steal, Unison, Solo Unison, Solo, Solo Rotate.
• Dual arpeggiators, each arpeggiator assignable to any active voice group – one arpeggiator per voice group
• Arpeggiator clock sources – MIDI IN Clock, internal clock (60-238BPM weighted), or external
• Arpeggiator clock divisors /4, /3, /2, /1.5, 1X, 1.5X, 2X and 4X the clock rate
• Arpeggiator note order as up, down, up/down, and down/up
• Arpeggiator modes are normal, ordered, ping pong, and random
• Portamento – per voice group configurable as constant rate or constant time
• Each voice group is independently configurable
• Firmware updateable via MIDI (Windows and Mac OS 9 update utilities provided)
• All MOTM-650 options settable via MIDI CCs or MIDI System Exclusive commands as well as the front panel user interface
• MOTM-650 Settings and state are remembered across power cycles
• Patch storage for MOTM-650 settings (up to 32) – recallable via MIDI patch change command
• Microtuning per MIDI spec
• Pitch bend adjustable from +/- 0 to 24 to be added to note CV on all voices
• Each of 4 AUX outputs assignable to pitch bend, channel aftertouch, or any MIDI CC.
• Velocity jack on each voice can be configured to be velocity or a trigger – providing a 5ms pulse when the voice is retriggered
• LEDs to monitor MIDI IN activity, internal/external/MIDI clock, and voice gate operation
• 8X2 LCD with variable backlight and 4 buttons for the user interface
• External clock in jack
• Transmits MIDI clock if set to external or internal clock

The MOTM-650 retails for $499.

Image: exoct

Saturday Synth Porn: One of a set of nice shots of a portable Doepfer modular synthesizer.

via the Synthtopia Flickr Group

Dave Smith Instruments

The new version boasts 60 potentiometers among its complement of 78 rotary controls.

“The response to the pot edition of the Prophet ’08 has been overwhelmingly positive,” said company founder Dave Smith, “so we decided to extend that functionality to the Poly Evolver, as well.”

Unlike endless rotary encoders, potentiometers allow the full range of a knob’s values to be accessed in a single turn of about 300 degrees. That simplifies filter sweeps and other more performance-oriented gestures. A kit with potentiometer-equipped panel boards is available to convert older Poly Evolvers.

There have also been some cosmetic changes. “We needed both lined and unlined knobs to distinguish between the pots and encoders, so we’re using Prophet-style knobs,” said DSI’s Andrew McGowan. “And we’ve updated the panel graphics a bit without changing them significantly.” The wood end panels are now made from bubinga.

First released in 2005, the Poly Evolver received multiple awards and has been used extensively by artists such as Nine Inch Nails, The Faint, Silversun Pickups, Van She, and Thursday. An analog/digital hybrid, the four-voice Poly Evolver features four oscillators—two analog and two digital—in a unique stereo voice architecture with a real Curtis analog low-pass filter per channel on each voice. The digital processing does not simply add effects at the end of the signal chain, but is tightly integrated with the analog electronics for tuned feedback, distortion, bit crushing, and synced delays. It can also process external audio and has separate stereo outputs for each voice.

The updated Poly Evolver Keyboard is available now with an MSRP of $2,899.00 and an MAP of $2,599.00. The conversion kit requires nothing more than a screwdriver for installation and is available directly from DSI for $399.00 or factory installed for $449.00.

Thomas P Heckmann’s studio is more than just a working studio – it’s a synthesizer museum with a fantastic collection of some of the hottest synths ever made.

This video, in German with subtitles, features Heckmann talking about his music, his amazing synthesizer museum and why he prefers making music with vintage synthesizers.

via robotstv, rebellen

This is an audio demo of Analogue Solutions’ Vostok matrix synth.

Matrix panels alone do not allow interfacing with external synthesisers & signals, so the Vostok also provides a full complement of front panel jack socket patch points for additional internal & external patching & interfacing.

The Vostok is not a Synthi and not intended to be or sound like one. It is an independent synthesiser in it’s own right.

The Vostok may at first glance look like an EMS clone, but it is not. It may share the matrix panel and suitcase style design concept, but that’s where the similarities end. The Vostok has more features, packing a powerful amount of modular synthesiser power into a small suitcase. It also has a different sound and uses different circuitry.

According to Peter Nagle’s SOS review:

This is a synth with a specialised appeal and the Vostok’s behaviour, range of sounds and performance undoubtedly does bears comparison with those classic EMS instruments. It scores by being slightly cheaper and having such extras as a MIDI interface, a sequencer, mini-jack connections and more. The VCOs sound fine, the filter marvellous and even the digital oscillator could be the source of some very strange sound effects or funky, wave-changing sequencer loops. I mean it as no insult to say that it could be an awesome self-contained sound-effects machine. In that context, the Vostok could do just fine.

Features of the Vostok:

• Pure analogue voice circuitry.
• Suitcase style design.
• 22×22 matrix pin panel.
• Rugged Steel construction. Quality chrome catches and cool steel spring handle.
• Stuffed full of electronics. No front panel space is wasted.
• Joystick, retro-VU meter, MIDI, jack socket patch points, more, more, more!

The Voxtok matrix synth retails for UK £1549.

via kickitagainagain:

VOSTOK is an Analog Solution’s “Suitcase Type” Analog Modular Synth.

This is a video demo of the Avarus battery-powered suitcase analog synthesizer.

It looks super sweet – unless you plan on flying – in which case you can plan on getting the full body cavity search if you try to take this on board.

The Avarus analog synthesizer is DIY project; a PCB kit may be made available.

Details at Denhaku. (Japanese site)

Sunday Synth Jam: Simonsounds’ Macbeth’s Ghosts is an exploration of the sound generating possibilities of the Macbeth Studio Systems M5N semi-modular synthesizer.

via simonsound1:

Just got this synth (on loan) yesterday and I’ve spent the day exploring its functions. So far I’m loving the built in spring reverb (watch/listen to what happens when I shake it!) and the voltage controlled panning. Here is a very short clip of some spooky halloween sounds. Looking forward to using this in some tracks and for some FX in the upcoming Simonsound podcast mix.

Don’t forget, The Simonsound cover of Tour de Mars is out on the 2nd of November!!!!

Sunday Synth Jam: Voltage Controlled Passacaglia, Pages 1 & 2, by Paul Hembree (Premiere)

Performed on the CRuNCh lab 1972 Moog Modular synthesizer, with video projection of an attached oscilloscope.

Executed from a score with parametric envelopes assigned to different performers. Rough synchronization is achieved with stop-watches, and four short sections in the piece (each about a minute long) allow for some controlled improvisation.

Paul Hembree, Chris Rippey, Steve Snowden, and Curtis Peel, performers.

Click here to view the embedded video.

Voltage Controlled Passacaglia, Pages 3 & 4, by Paul Hembree

via PHIntermedia:

Can anyone figure out what the ground-bass theme is?

Also thanks to Brandon Vaccaro and Sean Brady for help with the MAX panning patch (the only digital aspect of the work… sadly we didn’t have enough voltage controlled amplifiers, nor enough mixer channels on the Moog to produce 4 channel spatizalization).

This has been on MySpace video for a while because they do not have a ten minute time limit. However, I figured I should expose this work to YouTube, so I cut the piece in half and I’m posting both chunks.

Saturday Synth Porn: This video is a quick demo of the very sexy Moon Modular M569 Step Sequencer.

The M569 is a Moog-style step sequencer, but offering up to 32 positions, arranged in four rows.

Each row can be controlled independent from each other, so that the user has practically up to four separate sequencers at his disposal, each with its own clock- and reset-input jacks, and – at the same time – different running directions (up, down, random and “ping-pong“).

via JohnLRice:

I just couldn’t resist playing around a bit with my new Moon M569 sequencer! It has so much great potential for doing interesting sequencing it’s really exciting!

Noise Sculpture’s Get A Grip On Synthesis and Synthesizer Boot Camp tutorials offer a basic introduction to synthesis.

Click here to view the embedded video.

This video looks at modulation.

Click here to view the embedded video.

The next video looks at using filters to create sounds.

Click here to view the embedded video.

This video looks at using envelopes as a modulation source.

Click here to view the embedded video.

This video looks at low frequency oscillators (LFOs) and how they can be used to modulate sounds.

You can find out more about the series at http://noisesculpture.com/bootcamp.html, and check out http://noisesculpture.com/books.html to read more about synthesis.