via this auction
Monday, March 31, 2008
Studio Electronics SE-1
images via this auction"The SE-1 is an analog, monophonic, synth module which recreates the classic Moog sound, making it perfect for hip-hop, R&B, drum-n-bass, dance, disco, funk, techno, pop, progressive rock, progressive jazz -- or whatever your creative mind conceives. The classic, Moog sound comes from the SE-1's distinctive, 24dB lowpass voltage-controlled analog filter. It also has a 12dB low-/band-pass filter, which emulates the classic sounds of Oberheim synths.
The SE-1 uses three, discrete voltage-controlled analog oscillators for genuine, analog synth sounds. That's three VCO's -- just like the Minimoog. They offer the basic waveforms you'd expect from any analog synth: triangle, sawtooth, reverse sawtooth, square, noise, and random. There are also four, multi-stage ADSR-envelope generators used to shape your sound, the filter, and more. Also available are Ring Modulation and Glide/Auto-Glide effects.
With 24 knobs, 21 tactile switches, MIDI control over parameters, and plenty of program storage memory (396 presets and 396 user patches), the SE-1 is actually a more advanced alternative to its classic forerunners.
Features.
• Outstanding factory patches in ROM
• Completely programmable
• Two, classic filters -- 12dB and 24dB
• Three, stable, rich oscillators
• Four multi-assignable envelopes
• Extensive real-time MIDI control"
Ensoniq ASR-X Pro
via this auction"The ASR-X Pro Resampling Production Studio. An enhanced update to the ASR-X, the ASR-X Pro is a sampling, synthesizer, sequencer and effects studio in a single tabletop unit. For a machine that's competing with the Akai MPC-3000, the ASR-X Pro is a worthy opponent. It's got professional sampler specifications, and easy yet professional sample editing features. Process your samples with modern edit functions including copying, truncating, reduce bits, scaling, normalizing and inverting. It has enough built-in effects to sweeten your samples with: EQ, Reverb, Chorus, Flanger, DDL, Distortion, Tunable Speaker, Chatter Box, Vocal Morph, and Auto-Wah. Sequencing is also easy and hands-on. Microscopic Tempo control and resolution allow for punchy groovy sequences with plenty of feel and note capacity. There are also independent dual multi-mode dynamic digital filters with low-pass, high-pass, variable bandwidth band-pass, resonant low-pass and resonant band-pass.
What separates the ASR-X Pro from the ASR-X? The Pro now offers a SCSI interface for limitless storage to disk or drive. A cool new Flash OS system means you can upgrade it simply by inserting a floppy, no messing with ROM chips! There's a new Stomper program that synthesizes phatt analog drum machine sounds (a built-in drum machine) - giving the MPC-3000 a run for its groove. Memory can be expanded to a whopping 66MB for over 12 minutes (mono) sampling time. There is also a very cool Resampling technology that allows you to digitally resample sounds, loops or sequences with any effects and tweaks you've applied back into itself. Optional upgrades beside memory include the ESP-2 effects chip, EXP 24MB sound and wave expansion board and the X-8 eight output expander. The ASR-X Pro is compatible with virtually everything including most sound libraries and sampler libraries."
Sunday, March 30, 2008
MOOG Voyager
via this auctionFeatures:
• 128 modifiable presets
• 3 ultra-stable oscillators
• Dual Moog filters
• 4-stage analog envelope generators
• Flexible modulation busses
• MIDI I/O
• Pitch and mod wheels
Click here for the link to mfg's spec page (also has audio samples)
Saturday, March 29, 2008
Roland GR-700
via this auction"Introduction to the GR-700:
The GR-700 is classic Roland analog synthesizer technology. Released in late 1984, the GR-700 is the pinnacle of early Roland guitar synthesizer design. The distinctive and futuristic GR-700 features both a digital CPU for guitar tracking and a warm, fat hybrid digital/analog synthesizer engine for lush sounds. The GR-700 has a MIDI out port for controlling other MIDI modules, but the MIDI output is erratic and unreliable. In addition, no pitch bend information is sent via MIDI either.
Like the current generation of Roland guitar synths, the GR-700 controls the internal synth engine directly for faster response. But, make no mistake about it, the GR-700 is not a GR-300. Of all the products Roland has ever made, the GR-700 has the trickiest and most erratic tracking. The GR-700 is certainly better than equivalent products made by other manufactures at the time, but it is inferior to the GR-100, GR-300, GM-70 or the Ibanez MC-1.
For players who were used to the accuracy and speedy response of the GR-300, the GR-700 seemed like a real step backwards. Still, the GR-700 did introduce a new level of programability for guitar synthesizers. And when you consider the design and engineering costs of the Roland G-707 and GR-700, it is clear that Roland made a major commitment to guitar synthesizers.
The GR-700 Synth Engine:
The GR-700 has six, independent, analog synth voices, two oscillators on each voice. Roland digitally clocked these oscillators and called them "DCOs", as a response to the fact that the earlier Roland oscillator’s pitch had a tendency to drift in performance. The DCOs on the GR-700 generate classic analog waveforms: sawtooth wave, square wave, and pulse width modulated wave, as well a noise for special effects. The oscillators on the GR-700 can also be synced with cross modulation for hard, biting analog sounds or with ring modulation for metallic sounds. The GR-700 has a sweet Low Pass Filter with Resonance on each voice, with an additional High Pass Filter. And of course there are complete LFO and Envelope controls. To top it all off, the GR-700 adds a classic Roland analog Chorus circuit! If you like that expansive Roland Chorus found on early 80s products, you will love the Chorus on the GR-700.
The synth engine in the GR-700 is the same synth engine found in the Roland MKS-30 and Jupiter JX-3P. And, like these synths, the Roland GR-700 can use the PG-200 as a programming tool. See below for more information on the MKS-30 as an alternative to the MKS-30.
What Guitars can use the GR-700?
The GR-700 was originally designed to work specifically with the G-707 guitar, however, in my opinion, the best controller for the GR-700 is the excellent Ibanez X-ING IMG2010 guitar. The IMG2010 incorporates many of the features of the G-707 guitar, such as graphite reinforcement for pitch stability, without many of the G-707 "quirks". Naturally, the GR-700 will work with any Roland GR-series guitar, like the G-202, G-303, G-505, G-808 or any guitar with a GK-1 pickup attached, or LPK-1 or STK-1 hardware installed.
Who uses the GR-700?
The GR-700 was played and recorded by such prominent guitarists as Al Dimeola, Robert Fripp, Jimmy Page and Andy Summers. The GR-700 was the top-of-the-line guitar synthesizer system in the mid-eighties. Retail price on a GR-700 was almost two-thousand dollars. More recently, Amir Derakh has used the Roland GR-700 extensively on several records."
Technics SY-1010
via this auction"Technics SY-1010 vintage analog synthesizer. A fun and simple little synth, these were apparently only sold in Japan circa 1979"
Friday, March 28, 2008
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Thursday, March 27, 2008
Wednesday, March 26, 2008
Tuesday, March 25, 2008
Moog Voyager RME VX-351 VX-352
via this auction"Moog Voyager Rackmount Edition, with the additional VX-351 (CV OUTs), AND VX-352 (CV INs)"
Monday, March 24, 2008
KORG 707
images via this auction"Ser. #001571
* 8 voice digital programmable synthesizer. Control wheels are set up so you can use it as a conventional keyboard, or wear it with a guitar strap like a 'key-tar'. Keyboard is velocity sensitive, with after touch, and can be split or layered."
Saturday, March 22, 2008
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