via this auction
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Saturday, January 31, 2009
MFB SynthII Monophonic Synthesizer
via this auction"• 3 analogue VCOs (sawtooth, square, triangle waveforms)
• 2 envelope generators (ADSR)
• analogue 24 dB lowpass filter with resonance (VCF)
• 2 LFOs (sawtooth, square, triangle, random waveforms)
• 50 preset- and 49 user memories
• integrated step sequencer
The MFB-SYNTH II is a monophonic Synthesizer module. It uses analogue circuits that are voltage controlled for oscillators, filters and amplification. The synthesizer is controlled by MIDI, CV/Gate or the integrated step sequencer that can hold up to 25 sequences with 32 steps each. Here are the details:
The VCO sections contains three individual oscillators that are scaled to the volt/octave standard. The selectable waveforms are sawtooth, square and triangle. VCO II offers an additional impulse wave and pulse width control for the square wave. The octave can be set between 4`, 8`and 16` or 32’. An additional detune amount of plusminus one octave can be set for VCO 2 and VCO 3. The VCOs can either be modulatied by an LFO or VCO 3. VCO1 can be set to SYNC and two digital ringmodulations are available as VCO1+2 and VCO2+3.
The mixer allows level control of all oscillators plus noise and the level of the external audio input. The lowpass filter is a resonant 24 dB/octave design. Emphasis (resonance) can be set up to self oscillation. The cutoff frequency can be automodulated by an LFO or by and VCO. KEY controls the influence of the keyboard pitch on the cutoff parameter (Keyboard scaling). Both VCF and VCA have their propietary envelope generators with Attack, Decay, Sustain and Release parameters. The VCA can also be modulated by an LFO for characteristic tremolo effects.There are LFOs. The waveforms offered are sawtooth, rectangle, triangle and random. The can be set to „One Shot“ mode to be used as simple envelopes. The MFB-SYNTH II 50 preset- and 49 memory locations. The synthesizer will respond to incoming velocity data (MIDI). The velocity information can be used to control either VCF cutoff or VCA level. Pitch- and Modulation wheel are both recognized. The step sequencer sends and receveives MIDI clock and responds to Start and Stop MIDI commands.
Connectors: MIDI In/Out, Audio In/Out , CV/GATE In, Power (power supply included)
The MFB Synth II measures 315 x 165 x 387 mm. It has the following connectors: MIDI In/Out, Audio In/Out , CV/GATE In, and Power. A power supply is included."
ROLAND MC-202
via this auction"the following are excerpts from an article by Julian Colbeck:
“Long before Roland reinvented itself as a purveyor of DJ-friendly groove gear, the MC-202 was the original groove box. Despite being almost 20 years older than the Roland MC-303 and MC-505, the MC-202 fits snugly into the hip, knobby, bass-heavy world of dance music.”
“The “MC” in MC-202 stands for MicroComposer, which is Roland's fancy name for a sequencer… As an all-in-one sequencer and sound source, the MC-202 is a direct descendent of the MC-4 and Roland's SH-101 monophonic synthesizer. It was designed to be a host for the SH-101, the TR-606 Drumatix drum machine, and the TB-303 Bassline. If only Roland's marketing department had thought to call the MC-202 a workstation, or even a “walkstation” (you can run it on six C batteries and monitor it with headphones), its sales might have turned out differently.
The MC-202 is small but chunky with a 32-pad keyboard for entering notes rather than playing, an LCD (a rarity at the time), and sliders and buttons for controlling the synth section. Saying that the MC-202 is reminiscent of the SH-101 puts it mildly; aside from the absence of a noise generator and a slight reworking of the low-frequency oscillator (LFO; fewer waveforms, but with a delay parameter), the sound engine is an SH-101.
Like the SH-101, the MC-202's design features an oscillator and a suboscillator; nonetheless, you can build up a fairly substantial sound because the pulse wave, sawtooth wave, and suboscillator have volume-control sliders. Pulse width can be set manually or modulated by the LFO or the ADSR envelope generator (EG). The LFO, which generates a sine wave, has simple rate and delay controls. The resonant 24 dB — per — octave lowpass filter can be modulated by the LFO or EG, but it must conform to the amplifier's EG unless the amp is in its Gate position. A free-flowing slider controls keyboard tracking.
Understandably, the MC-202 specializes in bass and lead synth sounds. From thick, rich pulse-wave spreads to precision sawtooth sounds spiked with resonance, the MC-202 belies its size and price when it comes to low-end power.
The MC-202's sequencer can store 2,600 notes on two tracks. Input methods are quirky by modern standards. In real time, you play along with the metronome using the little keyboard pads, but that isn't as easy as it sounds. You can also enter data in “tap” mode, tapping in the notes first and the rhythm afterward, or use step-time input, complete with dotted rhythms and rests. You can add expression with Portamento and Accent; Accent controls the filter cutoff or the amplifier level. With enough practice, an expert user can enter just about any monophonic line, style, or rhythm into the MC-202's sequencer.Its dual-channel sequencer is configured to trigger the internal sound on one track and an external sound source — such as the SH-101, the TB-303, or even another MC-202 — on the other using the Control Voltage (CV) and Gate jacks. Both tracks can control external instruments, but only one can trigger the internal synth engine.
Theoretically, the MC-202 is equipped for the outside world. It can sync up a host of rhythm-based instruments, including the TR-606 and TB-303, and its sequencer can control almost any synth that has 1V-per-octave CV and Gate inputs. The MC-202's CV and Gate outputs are not completely satisfactory in speed and range, though, because an incoming signal lags unacceptably as it journeys through the internal circuitry before triggering a note.
However, DIN Sync (aka Sync24) is available and provides more reliable results. You can sync the MC-202 to MIDI if you have a MIDI converter that features DIN Sync. Some users have successfully experimented with synchronization using FSK sync straight into the MC-202's Tape Sync In jack, which fools the MC-202 into thinking it's receiving the data from tape.
A small subculture of modifications, and even a few computer applications, have sprung up for the MC-202; one of the more fascinating is 202 Hack, a shareware Java application that converts Standard MIDI Files into MC-202 sequence data. You can purchase the application from Defective Records (www.defectiverecords.com), the dance-music label co-owned by 202 Hack's author, Dan Nigrin.”"
Friday, January 30, 2009
RADIKAL TECHNOLOGIES SPECTRALIS SYNTH
via this auction"HERE FOLLOWS CHARACTERISTICS:
Introduction
Radikal raises the bar again for our competition. Never stop the sequencer engine again with our fully redesigned sequencer engine that allows for on the fly realtime sequencing, recording of MIDI controllers and overdubbing. Quick Sound Selection for every part - your most favorite sounds are just one fingertip away. Transpose your patterns and step sequences with the attached keyboard and control the Spectralis 2 parameters via MIDI from your computer. There is only one thing, we left untouched in our new design - the sound engine. Still the warmest and richest sound out there with the power of a modular synthesizer in a box.
The Hybrid Synth
The Spectralis hybrid synth, fueled by the latest DSP- and true analog technology, delivers maximum tonal capabilities and leads you into a radical new world of sounds full of life and animation. The Spectralis 2’ oscillator section takes sound design to new extremes. The 4 oscillators offer continuously variable waveshapes plus time linearity modulation, FM, PM, oscillator synchronisation, bit reduction and independent pitch and volume envelopes. The self resonating filters, a 4 pole lowpass and a 2 pole multimode filter with LP, HP, BP and notch outputs, use two highly improved true analog circuit designs to overcome the restrictions of modelling based synths. The way players can interact with the destinc-tive user interface makes the Spectralis 2 hybrid synthesizer a killer live instrument with unbeatable richness and stunning flexibility. The synthesis engine takes advantage of a sophisticated step sequencing system - 32 independent parameter control lines with up to 192 steps let you explore an universe of previously unheard rhythmic effects and atmospheric textures. Punchy high resolution envelopes, are the cutting edge of todays synthesizer technology. They are the perfect weapon for the creation of floor pounding kicks, state of the art sequencer staccatos and numerous percussion effects.The Fixed Filterbank
Rumbling noises, nasal sounding oboes, booming SciFi-drones and vocaloid solo-voices - all these different sounds have one thing in common - the fixed filterbank. Consisting of 8 bandpasses, one lowpass and one highpass filter, the filterbank allows the selective modification of certain frequencies. The spectrum of the sound is divided into separated frequency bands where each resulting spectrum slice has an individual attentuator. Like the instrument corpus forms the frequency response of an acoustic instrument, the fixed filter bank provides a new approach in the creation of realistic instrument timbres and bizarre FX-sounds. In contrast to big modular systems of the past, where the filterbank had fixed filter response curves and simple pots to regulate the levels of the frequency slices, the Spectralis 2 comes with sequencer controlled level modulation and in depth parameter editing like individual frequency band panning, Q and roll off slope control and filter stage spacing. The usage of the fixed filterbank isn’t limited to hybridsynth voices - simply feed any DSP synth part thru the filterbank or even any external signals from the external analog inputs. The Spectralis 2 step sequencer comes with step envelopes, where normal step-sequencers only offer a fixed value setting per step. In conjunction with the filterbank, these step envelopes allow for instance the creation of a new drum beat by simply feeding noise into the filterbank and programming some decay steps for selected frequency slices.
The Sampling SectionIn contrast to many other groove oriented sampling instruments, the Spectralis offers real multisampling and a 32 stereo voice polyphonic sound engine with powerful subtractive synthesis capabilities. Lush strings ensembles, dramatic soundscapes or earthshaking drum grooves - simply drag and drop the highlights of your personal soundlibrary from your computer onto the Spectralis 2. The highspeed USB2 interface transfers even large sample instruments in a few seconds. An included sample conversion utility allows importing wav- and soundfont2-files. After finalizing your music production, the entire song content with patterns, sounds and samples can be stored back to the computers harddrive. Satisfied with the backup functionality but still wondering about the LIVE situation? Don’t worry about that! The Spectralis comes with a SD-speciphic compact Card slot and has the possibility with an upgrade to Spectralis2 hardware plate, to bring the memory to onboard 1GB flash memory (expandable up to 2GB) for permanent storage of samples, songs and sounds and SD card to 2 gb.
Features are only one side of the story - but realizing them with the latest Texas Instruments floating point DSP generation and featuring HiEnd Burr Brown DA converters gives the Spectralis the no compromise touch of a groundbreaking new star in the sonic wonderland of electronic music instruments.
The Sequencing System
As a groove oriented system the Spectralis features a powerful pattern based sequencer playground with realtime, overdub and step by step recording as well as grid based drum programming. Additionally, the state of the art step sequencer opens a complete new universe of tempo dependent sound manipulations and freaky polyrhythmic sequencer battles. Designed with the live situation in mind, you will enjoy the absolute freedom of realtime manipulations during your session. Mute/unmute tracks, exchange the motifs on the fly, tweak volumes, panning or FX-sends with the built in mixing console or transpose an entire pattern by simply pressing a note on your keyboard. Editing of sequences can be done without stopping the sequencer - one of the most desirable features in todays groove oriented live instruments. Start your session with a simple basic groove and add steps on the fly until the audience is totally freaked out. Are you into more serious music production? Well, the Spectralis also comes with a song section, where you can arrange the patterns to complete songs."
Thursday, January 29, 2009
Rhodes Chroma Polaris
via this auction"The Chroma Polaris was the second synthesizer made by Fender/Rhodes after they took over ARP, following their classic Rhodes Chroma. It has a classic analog ARP-like sound, kind-of tinny but also fat. Sounds can be layered up to 6 voices. It has typical analog synth controls including a cool 'sweep' knob for sweeping through the LFO or analog filter cutoff parameters. It also has a simple real-time sequencer and 132 memory patches.
There's also a nice and colorful layout with sliders similar to Roland Juno synths, membrane push-buttons and a large velocity sensitive 61-note keyboard making the Chroma Polaris a very nice synth. Fully MIDI-equipped, the Polaris will transmit and receive all its edit controls through MIDI as well as the ability to play up to three patches at once. Unfortunately they are rare and usually hard to find."
ARP Solus Analog Synthesizer
via this auction"This synth was designed to be a dynamic synth between the Arp Odyssey and the Arp Axxe with minimal, but effective parameter control.
Polyphony - Monophonic Oscillators - 2 VCO's (w/ sawtooth and pulse waveforms) LFO - 1 LFO can modulate filter, envelope or pulse width Filter - 4-pole low pass filter with cutoff, resonance & modulation by LFO, ADSR or keyboard VCA - 1 ADSR envelope Keyboard - 37 keys Arpeg/Seq - None Control - CV/GATE OUT Memory - None Effects - None Date Produced - 1980 - 1981"
Wednesday, January 28, 2009
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