STUDIO ELECTRONICS 6 Voice OMEGA 8 Poly Analog Synth

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"Studio Electronics 6 Voice OMEGA 8 featuring Discrete Opamp, Chrome Finish Front Plate, 2 Soundbanks SERIAL NUMBER P1243"

ANALOG SYNTH VCA PCB BOARD KIT

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"DIY Voltage Controlled VCA based on LM13700. This is just for a PCB. The buyer needs to buy resistors, Capacitors, IC Chips, and solder it together."

Clavia Nord Micro Modular Synthesizer

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"This thing will do basically any sound, Subtractive, FM, Additive, you name it, its there! you can even do some primitive physical modelling!

Hook it up with the computer editor and you will have a nearly unlimited world of synthesis power, all in a monosynth format (though you can coax 4 or 5 voices out of it with clever programming)"

Cwejman S1 Mk2 Patchable Semi Modular Analog Synth

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Waldorf Micro Q Polyphonic Synthesizer Module

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Cwejman VCO-6

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"the vc0-6 is a single voltage controlled oscillator and it has six individual waveforms (see below). the frequency is controlled by manual controllers (knobs) and fm (leveled inputs). the vco-6 can by sync-ed by an external signals frequency, as well. frequency controllers: the oscillator's frequency is controlled by range (from c2 to c8), tune knob (± 6 semitones in audio mode and ± 12 semitones in lfo mode) and leveled fm inputs (dc or ac coupled fm1 and exponential f2 and fm3). frequency modulation (leveled fm1, fm2 and fm3 ) determinates the intensity of frequency modulation and/or pitch control. the fm2 and fm3 inputs are carefully calibrated for 1volt/octave sensitivity and it tracks the musical scale for more than 8 octaves. waveforms: the vco-6 is equipped with six separate waveform outputs. the different waveforms contain different harmonic structures respective to their overtone content. thus they sound different from each other and can be used as raw material for creating different types of sounds. this is a brief description of waveforms: * sine contains low order harmonics with low amplitude and sounds "dull" or "pure". * triangle contains more high order overtones than sine and sounds still "dull" and "pure" but with more "edge". * saw contains many overtones and sounds "rich" and "cutting". it is especially useful for strings, brass and vocal-like sounds. pulse controlled waveforms: the vco-6 has three different pulse controlled and modulated waveforms: * width modulated saw tooth which act as a true detuned dual saw tooth oscillator when the pwm1 is modulated with a low frequency signal (preferably a triangle shaped waveform) and the detuned frequency (frequency offset between two detuned saw tooth waves) is equal to doubled modulated signals frequency. when the pwm1 is modulated with the signal in audio range the pulse modulated saw tooth act as saw tooth ring modulator. the vco-6 has two different sounding pulses: * pulse1 and pulse2 . the pulse1's pulse width is controlled by a signal coupled to the pwm1 input and thru switch pw by the manual controller pulse width in position 1&2. the pulse2's pulse width is controlled by the manual controller (knob pulse width) and a signal coupled to the pwm2 input. both pulses can be controlled from square waveform to very short pulses (spikes). pulses are symmetrical in the whole range of pulse width and they are different from the "classic" variable pulse which is asymmetrical when the pulse width is not equal to 50% (square waveform). the pulse1 contain more even harmonics (as saw tooth waveform) and the pulse2 contain more even harmonics (as square waveform) which results in different sounding signals. sync means that sync'ed oscillators frequency is tracked to the frequency of controlling oscillator."

Cwejman VCO-2RM

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"vco-2rm is equipped with seven waveforms, lfo mode, sync and waveform outputs are routed to a dc coupled ring modulator (rm). the oscillator's frequency is controlled by coarse, tune knobs and fm inputs. tune finetunes the oscillators (± 6 semitones). frequency modulation (leveled fm1, fm2 and fm3 ) determinates the intensity of frequency modulation and/or pitch control. all fm inputs are carefully calibrated for 1volt/octave sensitivity. frequency modulation, by an audio signal, creates so called "side-bands" that consist of sum and difference of signals frequencies. these additional frequencies do mostly have a non harmonic sound. modulation, by low periodic waveforms, such as lfo or envelope generator creates momentary pitch shift of modulated oscillator common named vibrato (by lfo) or pitch bend (by envelope generator). sync means that sync'ed oscillators frequency is tracked by the frequency of controlling oscillator; osc2's frequency is syncronized to osc1's frequency. when the tuned frequency of sync-ed oscillator has the same or multiple of frequency of controlling oscillator then sync-ed oscillators waveform has no or very little "glitch" which results in a sync-ed smooth waveform (sinus waveform). the sync-ed waveforms (with additional fm modulation) are perfect for cutting edge lead sound and hard, funky basses. pulse width % adjusts the pulse width of the pulse wave from 5% to 95%. waveform selects the waveform or a mix of waveforms from an oscillator. pulse width control works also on the waveform mixes where the pulse wave is included. ring modulator (rm) is a classic audio effect device and due to the non harmonic character of the output signal, very useful to create metallic timbres such as bells, sweeping whistles and percussive sounds and tremolo effects (modulated by low periodic signal like a lfo). two input signals are pre-patched to osc1 and osc2 outputs. using the inputs x and y, any other external signal can be routed directly into the ring modulator. as modulation source the ring modulator can produce a huge amount of complex waveforms both in the low and audio frequency range"