via this auction
Thursday, January 31, 2008
Wednesday, January 30, 2008
Tuesday, January 29, 2008
Oberheim Matrix 1000
via this auctionNote the auction mentions one voice does not work. I wonder if you can defeat that voice for a 5 voice Matrix 1000.
Roland MSQ-100
via this auction"Roland MSQ 100 Sequencer for Juno 106 Synthesizers. MIDI in and out suggests that it can be used with other MIDI-compatible devices. Cool magnetic strips keep it in place on the face of your Juno with efficiency and style."
Monday, January 28, 2008
ARP Odyssey
via this auction"The ARP Odyssey was an analog synthesizer introduced in 1972. Responding to pressure from Moog Music to create a portable, affordable (the Minimoog was US$1,495 upon release) "performance" synthesizer, ARP scaled down its popular 2600 synthesizer and created the Odyssey, which became the best-selling synthesizer they made.
The Odyssey is a two-oscillator analog synth (the Minimoog has 3 oscillators and its sound is considered "fatter"). The Odyssey was the first synthesizer with duophonic capabilities (the ability to play two notes at the same time). Many cite ARP's semi-modular 2600 as the first duophonic synthesizer; however, the 2600 was originally shipped with a monophonic controller keyboard, with a duophonic keyboard not being released until after the Odyssey's release. One potential appeal of the Odyssey is the fact that all parameters, including a resonant low-pass filter, a non-resonant high-pass filter, ADSR and AR envelopes, triangle (not sine) and square wave LFO, and a sample-and-hold function are editable with sliders and buttons on the front panel.
The Odyssey is first duophonic (ability to play two notes at the same time) synthesizer. This 37-note synthesizer was used as an educational tool in ARP's "Learning Music with Synthesizers" book. A very popular keyboard for ARP, it was almost as popular with musical groups as the Minimoog.
The Odyssey was made in three versions. The first version was off-white, the second (in 1977) was black with gold markings on its front panel (see photo above). The third (1977 and later), and more common, version was black with orange markings. The third version has an external audio input, a steel frame, and "is also equipped with Proportional Pitch Control (PPC), ARP's latest contribution to more expressive synthesizer performance. The triple-pad, pressure-sensitive controller lets you bend notes sharp and flat, and add vibrato, all without moving a single slider or switch."----[from the ARP Odyssey promotional brochure courtesy of Kevin Lightner]
The PPC is basically three rubber pads underneath the keys. One to the left of the key for flattening the pitch, one in the middle for vibrato, and one to the right for sharpening the pitch. The pads were pressure gradient from back to front. If you pressed hard on the front, you get a semi-tone change, but if you press hard on the back you get up to a fifth change.
Later models have good CV/gate interface. Later Mark I's have mini-jack sockets squeezed in on the right of the back panel. Some Mark II do not come with CV/gate interface, though they do have the PPC. Mark II Odysseys have XLR outputs. Also some of the earlier models have some of their circuitry encased in resin, a trick ARP used often in their earlier years to maintain temperature stability (or as some say, to guard trade secrets). For whatever reason they did it, having their sockets enclosed in resin makes it difficult, if not imposible, to repair some units.Both VCOs are switchable between sawtooth, square, and pulse waveforms with oscillator sync, a ring modulator, and pink or white noise. Pulse-width can be modulated manually or with the LFO or the ADSR envelope generator. There is a high-pass filter, as well as a low-pass self-oscillating VCF. The filter can be controlled by either of the two envelope generators, an ADSR (attack, decay, sustain or "delay", release) and a simple AR (attack, release) and modulated by the LFO, sample-and-hold, the keyboard, or a separate CV (pedal) input on the back panel.
As the legendary first compact studio synthesizer, the Minimoog, proved to be a runaway success, ARP responded with a compact user-friendly studio synthesizer of their own with the Odyssey. An almost equally legendary machine itself (the Odyssey was ARP's highest selling synth), the Odyssey essentially gives you a somewhat scaled-down & hard-wired ARP 2600 in a much smaller and more affordable package. The Odyssey is a 2-oscillator analog synth (with duo-phonic capability) and it sounds really nice; the Minimoog has three oscillators and is considered fatter. The Odyssey comes well equipped with all the tweakable features you'd expect: resonant low pass filter, ADSR envelopes, sine or square wave LFO and even a sample-and-hold function. It also added a few new features such as a high pass filter in series with the low pass, oscillator-sync capability and pulse-width modulation. It is a very professional and expressive machine that can create nice analog basses, interesting leads and great effects and sweeping sounds or noises straight out of a Tangerine Dream album! Over its 30-plus year history"
Sunday, January 27, 2008
Saturday, January 26, 2008
KORG 770
via this auction"Classic vintage Korg 770 Analog Synthesizer from around 1976. Specifications: KEYBOARD: F-C 32 Keys VCO-1: Scale (64', 32', 16', 8', 4', 2'), Waveform (triangle, square, sawtooth, pulse, PWM, External Signal), Pitch Control, Vibrato Switch (Normal/Off/Delay), Vibrato Depth, Vibrato Speed, Pitch Bend Switch (Up/Off/Down), Delay Time, Bend Speed, Portmento Switch (Fixed/Off/Control), Portamento Control VCF x2: Traveler (High Pass, Low Pass), Bright Selector, Expand Switches x2 (LP+HP, Off/Normal/Reverse), FcM Switch VCA + ENVELOPE GENERATOR: Attack Time, Singing Level, Range Selector, Sustain Selector, Envelope Mode Selector, Trigger Mode Selector LFO: Speed Control (Repeat+FcM) VCO-2: Coarse Tuning (16'-1'), Fine Tuning, Mode Selector (sawtooth, Ring 1, 2, Scale Noise, Pink Noise, White Noise) TOTAL: Mixing Selector, Mixing Volume, Power Switch/Volume DIMENSIONS: 560(W) x 195(H) x 340(D) mm WEIGHT: 9 kg ACCESSORIES: Connection Cord, Dust Cover POWER CONSUMPTION: Voltage (Local Voltage, 50/60Hz), Wattage (15W)"
Friday, January 25, 2008
CGS Ken Stone Drum Simulator
via this auction"In Frac rack panel.
has 2 drum tones and has been modified. one now goes much lower than the other for bass drum sounds. they both now also go high enough to squeal!
jacks are for trigger in and audio out. trim pots have been brought to the front as pots and are for pitch, resonance, and tone. includes a power cable for connecting to a standard Blacet type power supply, +/- 15 volts." more info
Blacet Improbability Drive
via this auction"i modified this so that external signals can be used for the sample and hold instead of noise which is hard-wired. for the jack i just disconnected the QUANTIZED jack wires and used it because i never used that feature and didn't want to drill a new hole. i can put it back the way it was if the winning bidder wishes (but it's better this way IMO! now instead of random voltages you can insert a sine for stair-stepping for example). see the picture of the wires going to the resistors. also, when building this kit (i'm an electronics technician with a degree so please don't worry about build quality) i troubleshot for weeks trying to get it all working until i finally found the issue, a board fault, a millimeter sized gap in a trace, and fixed it. this often occurs when a particle falls during a manufacturing stage, the rest of the board is fine. was a real learning lesson finding it! see the picture with a wire soldered directly onto the circuit board. it's on there rock solid and not going anywhere. module functions perfectly.
more info
my mod"
Thursday, January 24, 2008
Wednesday, January 23, 2008
Kawai K5000s
via this auction"It truly has a unique sound of it's own and with over 1,000 parameters per patch, possibilities are limitless in terms of sound creation. For those of you who don't already know, the K5000S uses additive synthesis to generate and re-shape sound by adding and modifying individual harmonics. With additive synthesis, a patch can be dissected to the bare bone and re-shaped as well as new sounds created entirely from scratch, thus making it possible to create sounds that would not be possible with subtractive synthesis. There are also "multi" patches in which up to four single patches "can be arranged in layers, key splits, velocity splits, channel splits, or any combination" as the manual states. With the K5000S, you also have a bank of knobs to shape the sound even further in a way very similar to subtractive synthesizers. The knobs (4 of which are user assignable) will give you control over various parameters such as the formant filter, envelope, harmonics high/low, even/odd balance, velocity amount, portamento, and arpeggiator. Even the presets can sound really amazing by simply tweaking them!!! The K5000S could double as a nice MIDI controller as well because the knobs can also transmit MIDI information to an external sequencer or other synthesizers and the keybed has a very nice feel to it. There aren't many hardware additive keyboard synthesizers floating around these days and I have yet to know of any on the current market today. As a result, the Kawai K5000 series (especially the K5000S) is becoming increasing rare and more sought-after these days because of it's ability to create such unique sounds. Oh yeah, one other thing that is nice about the K5000S is the ability to morph sounds within a patch. The K5000S will allow you to create patches in which the sound evolves and changes into something completely different after holding a key down over a period of time. Now try that with an average analog or virtual analog synthesizer!!!!!! In addition to advanced additive synthesis, the K5000S also has PCM waves in which you can use as an oscillator source, allowing you blend the two types of synthesis together by creating patches that use a combination of PCM ROM sample-based waveforms and addditive synthesis."
Tuesday, January 22, 2008
Casio TB-1
via this auction"Midi A and B inputs, and 8 midi outputs, each switchable between A and B. It powers up with a 9vdc adapter or 9 volt battery"
Monday, January 21, 2008
Metasonix TX-1 Agonizer
via this auction"Metasonix TX-1 Agonizer "Special Unacceptable Edition" - extreme vacuum-tube powered distortion modular synth effect. in original box with manual and AC adapter. Perfect condition. Limited production run , only 100 units made."
Sunday, January 20, 2008
Paia Modular Synthesizer
via this auction"Vintage Paia 4700 Analog Modular Synthesizer- Modules included are: 4771 regulated power supply, noise source/control oscillator, 4710 balanced modulator, 4712 reverb, 4730 vcf, 4720 vco, 4770 watt block, 4761 wing, 4740 envelope generator, and a module from the controller keyboard w/ glide, pitch, trigger and out."
Saturday, January 19, 2008
Roland Super JX - JX-10
images via this auction"This Roland Super JX-10 synthesizer combines two individual JX-8P synth engines for an outstanding warm and analog sound which is used in many modern studios all over the world. It comes with on-board effects like Chorus and Delay and offers a wider range of programming using the optional ( PG-800 Programmer , Which is not included ) . This programmer is highly recommended for those who will be programming unique sounds since editing from the JX-10 itself is cumbersome and tedious."
Elektron Machinedrum SPS-1
via this auction"Also included is the TM-1 Turbo MIDI interface for transfering updates and samples to the Machinedrum. The TM-1 was bought but never used. USB cable included."
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