The Autotune kit was invented by Ivor Arbiter in the early 1970s. The kits first went on sale in 1975. They incorporated a unique tuning system, where the rims of the drums screw on rather like jam-jar lids. With a single tuning lug it was possible to tension the head over the entire range in just a second or two and to replace a head and retension it in about 30 seconds, hence the name Autotune. It wasn’t just the tuning system that made the drums unusual, though. The lack of lugs and the huge chrome rims gave them a unique appearence. The drum were made of fibreglass and the shells were oversized. That is, the diameter of the shell was much greater than the diameter of the skin. The effect was a little like a barrel, fatter in the middle than at the ends.The drums are also very rigid and heavy. All of these factors contribute to the kit having a unique sound. Some people claim the Autotune was the loudest kit ever. Well, there are several other kits from history that may claim this, too. Fibre glass Staccato and North drums for example, but these are single headed. Since the Autotune comes in both single and double skinned versions I’m pretty sure the Autotune has a good chance of being one of the loudest double headed kits ever!
Did anyone of you ever played this kit?
(From $87.000 USD)
An analog console forged from inspiration, innovation and the bold desire to build the most impressive recording desk in the world. The result is a console so accomplished, it features The Wunderbahn, the worlds first desk to come standard with three vintage stereo bus flavors, and employs a fully symmetrically balanced discrete summing bus system. This unprecedented blend of performance, technology and perfectly crafted build quality is simply the next standard in the pursuit of the perfect recording.Infuse sophistication with extreme audio performance. Hand built by Wunder Audio’s master technicians. The three stereo bus flavors are rich with thick discrete audio and transformer thickness, yielding three totally awesome soundstages that can be combined or heard separately.
- Wunder Audio
A member of a French sextet called the â€˜Structures Sonoresâ€™ performing on weird but non-electronic instruments, during a tour of the US.
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An unusual Ship’s Piano by Schindler, Paris, ca. 1950 with folding keyboardand knee-lever damper control arm
Via ISO50 … Unless you are way into audio production (read: geek) you donâ€™t have any good reason to care what the EMI TG console was (it was essentially a giant mixer for recording music and several were installed at Abbey Road Studios and used on the Beatles album of the same name).
We used this a lot on the “My Secret Lover” record …. Palm Products GmbH (commonly abbreviated to PPG) was a highly-regarded manufacturer of audio synthesizers. Founded and owned by Wolfgang Palm, PPG was located in Hamburg, GermanyÂ and, for 12 years from around 1975 to 1987, manufactured an acclaimed and eclectic range of electronic musical instruments, all designed by Palm. With the financial support of Franke, Froese, and the rest of Tangerine Dream, PPG continued to develop and release digital synthesizers, most of which met with little success. In 1979, PPG introduced the 340/380 System, a complex digital synthesizer which consisted of the 340 Processor Unit, the 340 Generator Unit, and the 380 Event Generator (a 16-track sequencer). It also included a “Computer Terminal” which included a monitor, 8-inch floppy disk drives, and a keyboard (5 octaves, for manual playing of events into the sequencer as well as polyphonicÂ playing with the 340 Wave Generator). Despite its own shortcomings, which included its complex functionality and its high price, it received publicity when it was used by Thomas Dolby during the early 1980s.Then, in 1980, Wolfgang Palm introduced a new concept, dubbed “wavetable” synthesis. These digital synthesizers expanded upon the capabilities of Palm’s earlier synthesizers by expanding the sound creation tools with limited samples, which were compiled together in lists called wavetables. The first PPG synthesizer to implement this algorithm was the Wavecomputer 360, released in 1980 in two versions – the 360A, with 4 oscillators, and the 360B, with 8. However, the synthesizer sounded relatively thin, a consequence of having only one oscillator per voice and the typical limited polyphony of most synthesizers of its era.PPG soon found success with the release of the Wave 2, which debuted in 1981, priced at around US$10,000 (GBÂ£5,500). It contained analog envelopes, LFO and filters, with digital oscillators. Where traditional analog synthesizer were only capable of 5 or 6 waveforms per oscillator, the PPG Wave 2 offered 64 waveforms in 30 “wavetables”. One selected a wavetable and then one of the 64 waveforms it contained – a total of 1,920 waveforms per oscillator available for use. In total, around 1,000 Waves were manufactured between 1981 and 1987 with two different updates to the model (the PPG Wave 2.2, which added more waveforms and samples, and the 2.3, which added multitimbrality and MIDI), making it the most successful product PPG manufactured. The PPG wave also found a place onstage with artists such as David Bowie, Geoff Downes, Electronic Dream Planet, Frankie Goes to Hollywood, Depeche Mode, Jean Michel Jarre, Rush, Gary Numan, Missing Persons, Robert Palmer, Talk Talk, Ultravox, Steve Winwood, Stevie Wonder, and many others.
This is plastered all over our debut record “My Secret Lover”.
The Roland Jupiter-6 (JP-6) is a synthesizerÂ manufactured by the Roland Corporation introduced in 1983 as a less expensive alternative to the Roland Jupiter-8. The Jupiter-6 is widely considered a workhorse among polyphonic analog synthesizers, capable of producing a wide variety of sounds, such as ambient drones, pads, lead synthesizer lines, and techy blips and buzzes. It is renowned for its reliability and easy, but sophisticated programmability.The JP-6 has 12 analog oscillators (2 per voice), and is bitimbral, allowing its keyboard to be “split” into two sounds – one with 4 voices, and one with the remaining 2 voices (either “Split 4/2″ or “Split 2/4″ mode). “Whole Mode” is also available, dedicating all 6 voices to single (monotimbral) sound across the entire keyboard.The JP-6 was among the first electronic instruments (alongside the Roland JX-3P and the Sequential Circuits Prophet-600) to feature MIDI, then a brand new technology. Sequential CEO Dave Smith demonstrated MIDI by connecting the Prophet to a Jupiter-6 during the January, 1983 Winter NAMM Show. Europa, a popular firmware replacement available from ‘Synthcom Systems’ adds modern enhancements to the instrument’s MIDI implementation, user interface and arpeggiator, turning the Jupiter 6 into a contemporaneously adaptable machine.
The inside secrets of Michael Jackson’s greatest records by the Grammy-winning engineer who captured and enhanced their sound. Multiple color photos of Jackson, producer Quincy Jones, and all the talents who collaborated to make pop history with Jackson’s albums. Plucked from a job at legendary Universal Audio in Chicago, Bruce Swedien entered into a fruitful and historic 30-year relationship with producer Quincy Jones. That partnership culminated in the groundbreaking recordings of Michael Jackson, beginning with The Wiz, continuing with Jackson’s breakout solo debut Off the Wall, and triumphing with Thriller, which revolutionized music and video and fixed Jackson in culture as the King of Pop. Now Swedien reveals the technical details of creating those albums (along with Bad, Dangerous, and HIStory) and offers personal remembrances and anecdotes about working with the pop icon. Swedien’s book provides an insider’s look that will thrill anyone interested in the nuts and bolts of hit making and the history of some of America’s most influential recordings. * Large collection of photographs from Michael Jackson recording sessions * Forewords by producer Quincy Jones and writer/producer Rod Temperton
- $16.49 USD
This “Billy Lorento”-guitar is supposed to be the oldest thinline of this series. The pickups feature only two screwed polepieces and a screwed jack for the input cable. Body construction made of solid wood. The “Billy Lorento”-engraving in the tailpiece is kind of handmade. The subsequent font wasn’t fixed until 1955.
(1x 10″JensenÂ® C10R Ceramic)
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(Photo by Mazzoni)
Saw this amazing guitar in my local guitar store (Per StÃ¦rk Musikinstrumenter) when I was about 15 years old (haven’t seen one since, not even on ebay). It was blue and made of plastic and I wanted it so bad. I remember that it was kind of cheap,Â but unfortunately I didn’t have enough money back then:-(
(Copyright Â© 2002 Geoff Tanner)
Another very popular console with 1073â€™s, this time 16 channels and 4 bus with 8 track monitoring. Early consoles had four VU meters and later models used eight. As with the BCM10, the 1272 line amps were mounted on the front of the console with their function silk screened on the front panel and a front panel mounted level control fitted.A good guide is that 80*4 consoles were generally four bus, and the 8014 was superseded by the later 20 channel 8034 and rarer 8024 consoles.Then came the 8 bus consoles 8016, 8016A, 8026, 8026A and 8036. . . so the clue is that 80*6 is obviously an 8 busser! The 8016â€™s were rather like a expanded 8014 and most of these desks used 1900 (or derivative) switching units.The 8026 range were a little radical as they used 3401 + 3402 line amplifiers which were 32mm wide and used externally mounted VT22543 transformers. These transformers were mounted on hinge down rear panels and Lord help anyone undoing the thumbscrews without prior knowledge of the weight of those panels. . . they were HEAVY !The 3401 & 2 line amps were replaced by the 3405 with its internally mount LO1173 output transformer and I believe that the 8036 went back to 45mm 1272 line amplifiers.Next came the 16 bussers which used coding 80*8. . . e.g. 8028, 38, 48, 58,68, and 88.The 8028 used 1073 or 1084 equalisers with 1903 16 bus routing units and 1906 Aux routing units. The 8028 was the last all Class A console Neve produced as the others all had a sniff of AB somewhere in their circuit paths!I would add that we can convert any 80 series console to all Class A with our adapter kit. The 8028 was 24 channel but the later 38 and 48 could be 28 or 32 channels (+Rev returns).The 8038 used a 12″ 1064 or 1081 equaliser with a 12″ 1948 routing module which combined the functions of the 8028â€™s 1903 and 6 modules into one module.My recollection (and this is going back over twenty years!) as to the quickest way of identifying the 8038 from the similar 8048 was that the 48 had its monitor section consisting of a “square” of up to four 8T matrix panels (32T) whereas the 8038 had just three panels in a straight line, offering 24T monitoring.The 8058, 68 and 88 consoles were a major change as they were the first inline monitor Neve consoles and the first consoles to be produced to the New Appearance Design (NAD). This involved using Extra Dark Sea Gray paint instead of RAF Blue Gray, lower case letters instead of upper case, custom charcoal grey knobs instead of the Marconi predecessors, custom extruded aluminum fader panels instead of standard P & G, and custom extruded aluminum cladding instead of the wood cladding of previous consoles. Pretty radical!The 58 was 28 channel, the 68 was 32 channel, and the 88 was 40 channel.The 8078 was the first (non custom) console to have 24 busses. Plenty of custom consoles before it were built as 24 bus, the earliest one I know of being A88 Wessex Soundâ€™s unique console (C1970) which now resides at Paramount Studios in Hollywood and is currently for sale.The 8078 was the last 45mm standard console produced by Neve and are usually snapped up as soon as they come up for sale. A rare derivative, the 8098,used a separate monitor section in an “L” shaped extension to the main console frame.The 8100 series of centrally assigned and microprocessor based consoles came about because of a series of beer and sandwich lunch time meetings to which all Neve engineers were invited. The promise of free beer was a good incentive to attend these design meetings for the console code named N78.I sometimes wonder, with hindsight, whether they would have been better designed with a little more input from the prospective customers! The consoles can be easily identified with the following clues;8108 consoles, available in a number of different sizes, were mainly blue. The successor,8128, was mainly extra dark sea grey, and the 82** economy versions (e.g. 8232) used conventional keyboard switches instead of the expensive touch panels of the other two models.The 8000 range of consoles were intended for music recording whereas the 5000 range were designed for broadcast. There is always at least one exception to a sensible rule and, as an example, the 8301 10 channel 2 bus “Kelso” console with its simple two band eq could hardly be described as a “music console”!To summarize Neve broadcast consoles, 5000 series used 45mm modules and were usually 20 channel 4 bus or whatever. 5300 series were usually old appearance RAF Blue grey and used 35mm (and sometimes 32mm) modules. 5310 consoles were similar but used NAD extra dark sea grey.As an example, the 5302 was very similar, electrically, to the 5312 and both were 12 channel 2 O/P. The 5305 4 bus console used a “flat” profile similar to a BCM10 whereas its successor the 5315 had a stepped meter section. Both could be provided as 12, 24 or 36channel. There was also a lovely 8 bus version, the 5316, and I built a lovely 36 channel custom 5316 for Scottish TV which is now in a studio in the USA.54 consoles were based on a 5422 Suitcase console which, in turn, were based on a range of suitcase consoles sold to the SABC. These were easily distinguished by their built in telephone handsets. 5432 was an 8 channel “drop through” version and the 5442 was a tabletop version. Later versions had more channels and / or busses e.g. 5455, 5465.This list is far from complete but should help Neve aficionados identify the true model number of their consoles. Neve did not make that many “standard” consoles (until they foolishly disbanded the custom section!) so folk should be proud of their “50 or 80 series” classic custom Neve consoles!
The ARP Quadra is an analog musical synthesizer that was produced by ARP Instruments, Inc. from 1978 to 1981. It is an Omni, Odyssey and a few other Synths in one box. It has 4 sections: Poly Synth, Lead Synth which is duophonic like the Odyssey, Bass which is on the bottom two octaves like the Omni and Strings which are the same as an ARP Omni. There are 16 memory locations, but they are not proper memories. They simply recall which parameters are active so you still have to do plenty of tweaking. Like the Moog Polymoog keyboard, the Quadra was not a truly polyphonic. It used divided-down circuits for the Omni Part, and there is no Portamento or Cross-Modulation. It only has one VCF and VCA for the Poly Synth section. It has a simple and useful arpeggiator for the lead section. The Quadra uses the typical ARP orange and black color scheme of the company’s later years.
- YouTube Clip
- Amazon : Analog Synthesizers: Understanding, Performing & Buying
Looks cool. Sounds cool! Get one on eBay:-)
- More EKO catalogs here
Forget the RTAS/VST versions of this machine. They suck compared to this amazing machine.
The ARP 2600 is without a doubt one of the finest analog synthesizers ever. It is very popular and has been used by artists for over 20 years in all forms of music, especially today’s electronic music. The 2600 is a professional, semi-modular, monophonic, patch-cable synthesizer that competed directly against the first professional Modular Moog synths during the early 1970′s. Unlike other modular systems of the time which required you to pick and choose modules that you (or the manufacturer) then had to mount inside a case and wire together, the 2600 is semi-modular with a fixed selection of basic synth modules internally pre-wired and ready to go! Most of these connections can be “re-wired” with patch-cords and clearly labeled patch-points. This made the 2600 more user-friendly, portable and easier to create sounds with!
â€ It has no limits that machine â€ â€“ Benny Andersson (He is right you knowâ€¦)
The GX-1 (along with it’s predecesor, the “Electone GX-707″) was an analog polyphonic synthesizer developed by Yamaha as a test bed for later consumer synths. With its chrome pedestals and curved metallic body, it looked like a 23rd-century version of the Hammond B3. The GX-1 had two full-sized velocity-sensitive manuals [5-octave 61-note (C-C) keyboards], a small monophonic pressure-sensitive manual [3/4 scale, 3-octave 37-note (C-C) keyboard], a 25-note pedalboard, a neat “relative” ribbon controller [zero modulation was wherever you placed your finger first. The modulation value rose and fell as you moved your finger left and right], two “swell” pedals and a springloaded knee controller. It had at least eight voices, plus one monophonic voice. Each poly voice had two analog voltage-controlled oscillators, a 2-pole low-pass filter, at least one (poly-mod) voltage-controlled low-frequency oscillator, and at least two envelope generators. The different keyboard’s voices could be coupled together like an organ (there are “stop” pistons between manuals), so that sounds could be layered. The monophonic voice could also be layered onto the polyphonic voices, as the top note. The synth was programmed via a bunch of miniature sets of controls hidden in drawers and panels on the instrument. There were also rows of Yamaha ‘drawbar’ sliders and some buttons above the middle manual.The GX-1 cost $60,000, and was premiered in the US in 1973 at the NAMM convention. At least seven were built. One was displayed for a time at Leuenberger’s in San Francisco. Keith Emerson, John Paul Jones of Led Zeppelin, Jurgen Fritz of Triumvirat, and Stevie Wonder all bought one. Stevie Wonder called it “The Dream Machine.” You can hear the gorgeously expressive string sounds that it was capable of on Stevie’s “Village Ghetto Land” and “The Secret Life of Plants.” Jurgen Fritz used his on the Triumvirat album “Pompeii.”
Via DeisgnBoom … the instrument ‘AM / FM keyboard 6′ designed by vasco alves, is an updated version of his earlier’FM kbrd’. the ‘FM kbrd’ had 12 piano keys which are meant to trigger 12 radios,tuned to different stations enabling one to create / play sound pieces based on what is being broadcastover the radio at that particular moment. now the new ‘AM / FM keyboard 6′ is built out of wenge wood,with only 6 keys and 6 independent audio outputs (requiring a 1/4 inch jack) that allow manipulationof out coming sound. it now has a larger variety of controls. the new keyboard consists of six radios,six keys, six tuning dials, 6 volume controls 6 AM/FM switches, 6 LED lights, 6 antennas,6 audio outputs and 1 power socket. this model was designed to be portable (smaller dimensionsand weight) so that its easier for travel / touring.
The Memorymoog is a polyphonic electronic music synthesizer manufactured by Moog Music from 1982 to 1985, the last synthesizer to be released by the company. While comparable to other polyphonic synthesizers of the time such as the Sequential Circuits Prophet-5 and Oberheim OB-X, the Memorymoog distinguished itself with 3 audio oscillators per voice and greater preset storage capacity. While the earlier Polymoog synthesizer (1975) featured unlimited polyphony, the 6-voice Memorymoog is considered sonically superior, and is often described architecturally as six Minimoogs in one unit. Each of the six voices of the Memorymoog is made up of three VCOs that can be set to any combination of pulse (variable width), saw, and triangle waveforms and freely switched over a four octave initial range. Each voice also has its own 24dB/Octave Low Pass VCF. Moog Music wisely included a discrete implementation of its famed, patented transistor ladder filter, which was first introduced in the Moog Modular systems of the 1960′s and came to widespread prominence in the Minimoog. In Mono mode, the Memorymoog functions as a traditional monophonic synthesizer with 1 to 18 oscillators selectable in unison for powerful leads and basslines. The user may also specify any combination of Low-, Latest- or High-Note Priority keying and Single or Mulitiple Triggering, for an impressive degree of control. An Arpeggiator is also included, and an independent LFO with 5 non-mixable waveforms allows modulation of VCO frequency, pulse width and filter cutoff frequency, while VCO-3 can also be used for Low- or Audio-Frequency modulation. With careful programming, audio frequency modulation using Oscillator 3 can produce convincing pseudo acoustic and FM-like timbres typically not associated with analog subtractive synthesis.
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I don’t care what you say! I know that this machine has been used a LOT over the past 30 years but it is still one of the most amazing sounding drum machines ever made.
The Roland TR-808 Rhythm Composer was one of the first programmable drum machines (“TR” serving as an initialism for Transistor Rhythm). Introduced by the Roland Corporation in early 1980, it was originally manufactured for use as a tool for studio musicians to create demos. Like earlier Roland drum machines, it does not sound very much like a real drum kit. Indeed, because the TR-808 came out a few months after the Linn LM-1 (the first drum machine to use digital samples), professionals generally considered its sound inferior to sampling drum machines; a 1982 Keyboard Magazine review of the Linn Drum indirectly referred to the TR-808 as sounding like marching anteaters. However, the TR-808 cost US$1,000 upon its release, which was considerably more affordable than the US$5,000 LM-1.
The Sequential Pro One is a wicked little monosynth! It comes from the same period and genre as the Roland SH-101 and Moog Prodigy. The Pro One was basically Sequential’s attempt at taking their legendary Prophet 5 poly-synth and packing it into a compact, inexpensive, monophonic analog synth! It has two VCOs, a great 4-pole lowpass filter, two ADSR envelopes (one for filter), and a compact three-octave keyboard. With a Pro-One, you can easily create punchy analog bass-lines and leads or quirky analog synth effects.The Pro One is an extremely flexible synth with lots of modulation possibilities (ie: the filter, VCO B and LFO can modulate VCO A or B frequencies or pulse widths, or the VCF). There’s also an onboard sequencer, something common on many Sequential synths but not often found on other monosynths of the time. It is very basic, however, storing only two patterns and up to 40 notes max. Also, only pitch info is recorded (and in step time only); you can not assign a note duration to any notes. So it’s basically a short melodic sketch-pad…but useful. Also onboard is an arpeggiator which has UP and UP/DOWN patterns.
I still can’t wait for the release of this amazing synthesizer!
Teenage Engineering is a Swedish design company previously best known for their Styrofoam turntable kit and their modular Studio System work lights.Â Now theyâ€™ve taken their innovative design aesthetics and thrown their hat into the musical instrument ring by creating the OP-1.Â The OP-1 is a seriously stylish portable synthesizer, sequencer, and sampler, perfect for writing and creating twisted electronic ditties on the run.Â Its most immediate eye-catching feature is the high-contrast, 60 frames per second Amoled display.Â In terms of software, it boasts 8 different synth engines, 14 effects, multiple sequencer types, and an intuitive sampler.Â One groundbreaking feature is the virtual 4-track â€˜tapeâ€™ recorder, which can instantly record anything you do for up to 12 minutes at the highest quality setting.Â Things get really tripped out when you start to play with the speed and pitch in real-time during playback.Â The OP-1 has a USB connection, which allows it to function as a software controller and a mass storage device where you can drag and drop audio files to and from your computer.
The DS-2 is basically a monosynth with an added 44-voice polyphonic strings section. The DS-2 was one of the first synthesizers to use DCOs (digitally controlled osc.) making it stable in tune but maybe not as fat as VCO synthesizers. That isn’t to say it can’t sound fat…it can. Especially if you use the polyphonic string section and apply some slow LFO modulation to the pitch. This is a very big and good looking synth with a lot of knobs for instant hands-on control. And you don’t need a hardcase, it’s built into one. Just lift the cover and there it is (smart!).FYI: This is possibly one of the most unreliable synths when found on the used market! Models almost always have failed components in either the monosynth or polysynth stages. Most frequently encountered are failures of one or both DCOs, or the entire polysynth stage in of itself. Purchase of a DS-2 can be a VERY risky proposition!What’s good about it then? Well it has two nice LFOs, one with S&H and staircase waveforms. You can use either or both LFOs for modulation of Osc 1, Osc 2, VCF and the VCA. Pulse-width can be set manually or modulated by either LFO. The VCF is killer, it has a nice Moog sound in it that fattens up the sound. The two ADSRs are very fast so there’s no problem making bass and drum sounds with it. It has an external input for processing other sounds through its lovely filter too. It is used by Cirrus, the Cardigans, Tambourine Studio, and Sun Ra.
The DCS II by Strider Systems employs advanced digital technology to bring you:Advanced digital control matrixAn astounding variety of functions unmatched in any other comparable synthesizerComplete memory of all functionsSingle button recall of all programsRemarkably, it costs less than any other synthesizer that even comes close to its capabilities.First, notice the differences you see. No Knobs. No sliders. Just a compact instrument with a clean,perfectly arranged control panel of push buttons. These buttons put your fingertips in touch with anamazing variety of functions. The more you know about synthesizers, the more amazed you’ll be with theversatility of the DCS II.Here is a brief look at the most important features of the DCS II:Two polyphonic voices which can drive up to eight notes each, commanding a separate synthesizermodule on each note.Each separate synthesizer module has three oscillators with reliable waveforms and modes such as ring,FM, noise source, multi-mode state variable filter, separate ADSR and modulation for oscillator, VCAand filter sections.Single button, instant access to 48 voice patches. Sixteen are permanent presets, and 32 are variable voicepatches.A 356 note memory sequencer which drives one synthesizer module and has 16 memory banks.A totally programmable joystick that can vary and set or just vary almost any combination of functions inreal time.Single and/or multitrigger keyboard that will drive voice 1 only, voice 2 only, voice 1 & 2 high/low splitat middle C, and a unison mode.Unlimited storage of memory on cassettes with built in interface.
This Cool Misa Digital Guitar with a touchpad that plays digital guitar, watch the video. Cool! By Sydney-based designer Michael. If you are interested in purchasing, you can contact it via mail.
Electronically the same as the E-70 console model, this modern looking stage model had a bit of a pyramid shape to it. A single TX-III tone cabinet came standard with the EX-2.PASS took voicing technology from the GX-1 and incorporated it into a consumer model instrument. The ramifications revolutionized the organ industry. Instruments voices began evolving towards emulating the true orchestral instruments rather than theater organ equivalents.
Finally released in 1982, the Emulator was a floppy disk-based keyboard workstation which enabled the musician to sample sounds, recording them to non-volatile media and allowing the samples to be played back as musical notes on the keyboard. The 5 1/4″ floppy disk drive enabled the owner to build a library of samples and share them with others, or buy pre-recorded libraries on disk.It was a very basic 8-bit sampler – it only had a simple filter, and only allowed for a single loop. The initial model did not even include a VCA envelope generator. It came in three forms: A two-voice model (only one of these was ever sold), a four-voice model, and an eight-voice model. When the original Emulator was turned on it was split. It was designed to be played in split mode, so playing the same sound on the full keyboard required loading up the same sound floppy disk in each drive.Stevie Wonder, who gave the sampler a glowing review at the 1981 NAMM convention, received the very first unit (serial number “001″). Originally 001 was promised to Daryl Dragon of Captain & Tenille, because Daryl had been a loyal E-mu modular system owner for a long time before that. On the other hand, Stevie at the time had a slightly larger name-recognition value. In 1982, the Emulator was updated to include a VCA envelope generator and a simple sequencer, and the price was lowered. Approximately 500 units were sold before the unit was discontinued in late 1983.
The System III was Aries’ ready-made modular synthesizer, with 14 pre-patched modules and a 61 note C-C keyboard. No patch cords were needed to play basic sounds, but there were over 200 patch sockets to create custom patches. It had voltage-controlled phasing and panning, a ring modulator, stereo reverb, external signal input.
- Aries System III
This complete Roland ‘System 100′ is so dope. I tried one at Gula studios a few years ago. It’s stunning!!!
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Massachusetts based Aries was a synth manufacturer that offered modular “kits” for modules and modular systems as well as pre-assembled systems such as the Aries 300 series. The Aries 300 is a classic modular system that competed against the Moog, Arp, Buchla, E-mu, and Roland modular systems of the time. They sound very good and can be found in various configurations as seen in these photos. They are purely analog monophonic synths with classic wood paneling, un-cosmetic appearance, mean filters, plenty of envelope, LFO, modulation, analog sequencing, VCOs, and more! A remote 61 note CV/GATE keyboard, tons of knobs and patch-points give you a very flexible analog monster.
The Roland TB-303 Bass Line is a synthesizer with built-in sequencer manufactured by the Roland corporation from 1982 to 1984 that had a defining role in the development of contemporary electronic music.The TB-303 (named for “Transistorized Bass”) was originally marketed to guitarists for bass accompaniment while practicing alone. Production lasted approximately 18 months, resulting in only 10,000 units. It was not until the mid- to late-1980s that DJs and electronic musicians in Chicago found a use for the machine in the context of the newly developing house music genre.In the early 90′s, as new Acid styles emerged, the TB-303 was often overdriven, producing a harsher sound. Examples of this technique include Hardfloor’s 1992 EP “Acperience”, and Interlect 3000′s 1993 EP “Volcano”.The well-known “acid” sound is typically produced by playing a repeating note pattern on the TB-303, while altering the filter’s cutoff frequency, resonance, and envelope modulation. The TB-303′s accent control modifies a note’s volume, filter resonance, and envelope modulation, allowing further variations in timbre. A distortion effect, either by using a guitar effects pedal or overdriving the input of an audio mixer, is commonly used to give the TB-303 a denser, noisier timbreâ€”as the resulting sound is much richer in harmonics.The head designer of the TB-303, Tadao Kikumoto, was also responsible for leading design of the TR-909 drum machine.
Originally owners of the Four-Voice could expand it to up to eight SEM modules. Shown here is an example of just that. This became the first Eight-Voice.Later Oberheim released an Eight-Voice with two keyboards, (one on top of the other: the top one, a 4-octave(C-C), 49-note, and the bottom one, a 5-octave(C-C), 61-note) and an onboard Digital Programmer which held 16 presets. Currently we have no picture of this one.
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The Hammond Novachord was the world’s first synthesizer, and really came sooner than the world was ready for.Â Employing 169 vacuum tubes and circuit ideas borrowed from ENIAC, the world’s first computer, it was far ahead of its time.Â Production began in November of 1938.Â They were revealed to the world at the 1939 World’s Fair, where four Novachords played a special musical arrangement along with a Hammond Model A.Â The Novachord became commonplace for a short time on motion picture soundstages and in radio studios.Â The eerie sounds of the Novachord graced many a horror film, Disney production and radio show.Â However, very few players understood how to play it because it wasn’t a piano, nor was it an organ. The Novachord also encountered a great deal of resistance upon its introduction.Â The experimental, avant garde music community rejected it because it was “too traditional.”Â For all the hype, they expected something with a radically different interface.Â The traditionalists rejected it because of how strange it was.Â Nevertheless, the Novachord did manage to make its own mark on history and still has a distinctive sound that has never been mimicked. Production was ceased in July of 1942, when it became too difficult to get materials because of World War II.Â Production was originally planned to restart after the war, but never did.Â Only 1,069 of them were produced, and very few survived because they were problematic from the start because of the wax capacitors.Â Many have been discarded, or poorly taken care of.Â There are still several around, but very few of them are functional.
- Hear its amazing sounds here on YouTube
- Novachord Restoration Project
Via AquireMag … Gibson’s Les Paul Tribute 1952 is a stunning piece of work worthy of its namesake and it should be, as it was built to Les’ original specifications. The guitar features a gold mahogany body, maple top and rosewood fingerboard, a bridge that is a painstaking replica of Les’ 1952 patent, and single-coil P90 pickups.
Via Worldfamousdesignjunkies … The superman designer Kyle Bean has taken a whole lot of time to cover up a bunch of instruments with paper. Each little bit of every instrument covered collage/wallpaper style with sheet music. Along with that, a few suitcases covered with maps. All this and color accents made for UK high fashion and luxury store HermÃ¨s. In the windows through the beginning of 2010. After that I think he should send that guitar to me! Craftsmanship. Super music covered instruments! I wonder if they still work? This sort of work reminds me of designer/artist Shepard Fairey and his collage background fine art pieces (a couple of which are also included in the gallery below.) Itâ€™s a fabulous practice, reusing printed material for new art projects, especially all of theses items in this particular post, all of which will far outlive the usefulness that any of the paper scraps they employ would have. â€“Keep those trash heaps low!
After a comprehensive building renovation with an end-to-end preservation of the historical substance, the visitors are greeted with more than 200 Instruments from the Framus factory production between 1946 and the end seventies. From the classical violin, the Attila Zoller guitars, to the legendary Star Bass, the Framus museum collection shows a unique variety for a German instrument manufacturer. As a precursor to the industrial guitar production in Europe, Framus stood for an array of innovations and developments that still endure and are relevant to this day. Some of these technical innovations are displayed in the museum and provide an important insight into a piece of German instrument manufacturing history.
Adorfer Str. 25
T: +49 (0) 37422/555 9000
Opening hours : Monday – closed. Tuesday-Sunday 10:00 am-06:00 pm
I’m still very proud of my place, so that’s why i’m posting it again:-)
Via BornRich … Popular for its wide range of tones, sleek look and durability, the Gibson SG has attracted rockers like Angus Young, who inspired a whole wave of rock guitarists to come. Continuing the manufacture of Limited Editions, the Gibson Custom Shop has offered its reproduction of one of the worldâ€™s most renowned SGs in the form of the Angus Young SG. The Limited Edition keeps intact the tone, look and feel of the previous models but updates this legendary guitar with custom modifications requested by Angus himself. The Custom Shop Angus Young SG with the total units of 250 will also have the privileged 50 signed by Angus himself to be sold with a custom Certificate of Authenticity, a Gibson Custom Shop hardshell case, and a full range of ownerâ€™s manuals and instruction sheets. The Gibson SG electric guitar with its simple ingredients of thin, all-mahogany body and neck and two Gibson humbucking pickups offers many variations and finishes on the basic body style, and this is what made it the â€œfastest neck in the world.â€ Price starting from $3617 to $9409, the new limited editions can be ordered at Gibson.
Check out the audio demo — it’s surprisingly good considering the hardware limitations. The PET 4032 ($1295) was released in 1980 as an upscale version of the original PET 2001. It featured a 40 x 25 character 9-inch monochrome screen, 32K of RAM, built in BASIC and a versatile IEEE-488 port that allowed you to chain up to 15 devices. The machine was clearly targeted at business and educational institutions since its audio capabilities were limited to a tiny piezoelectric buzzer and the character graphics were crude even by early 80s standards. This is also one of the most pretty computers ever made if you ask me.
- PetSynth – The first GPL playable synth for the PET
I want it!!!
Only one Audity ever came off the assembly line. It is a state of the art computer based analog synthesizer commissioned by ex-Tangerine Dreamer Peter Baumann in 1979. It came at a time when E-mu, like other synth manufacturers of the time, were making a move towards producing an instrument that was more compact and more advanced than the purely analog modular beasts they had been making. Under pressure from synths like Sequential’s Prophet-5, E-mu set out to make a very powerful analog synth. The Audity was a 16-voice instrument with a massive amount of programmability and stability thanks to the computer based technology that controlled it. Unfortunately the instrument was so expensive ($70,000) that nobody wanted to buy one. It was also a bear to program. E-mu wound up shelving it in order to start over with a new concept inspired by the Fairlight. This led to a sophisticated and much cheaper sampler – the Emulator 1. But the Audity had not been forgotten by E-mu. Much of the Audity’s multi-timbral design went into the creation of the sample-playback Proteus synthesizers, which in turn paved way for the Audity 2000 sound module! The one and only living Audity is currently at David Kean’s Audities Foundation museum.
This special edition, in a fine and robust, classic style case, is offered with unique product features. The set includes an exclusively designed pop screen. Its characteristic design is a reminiscence of the sixties, the early years of the U 87.The entire set shows the stylish combination of polished nickel parts with the traditional Neumann matte nickel look. Microphone, elastic suspension and pop screen are instantly recognizable.The set contains a dust cover embroidered with the anniversary logo, and a pair of white gloves for handling this valuable equipment. A signed and framed certificate of authenticity with individual serial number completes each original set.The U 87 is equipped with a large dual-diaphragm capsule with three directional patterns: omnidirectional, cardioid and figure-8. These are selectable with a switch below the headgrille. A 10 dB attenuation switch is located on the rear. It enables the microphone to handle sound pressure levels up to 127 dB without distortion. Furthermore, the low frequency response can be reduced to compensate for proximity effect.
- Neumann Microphones
We used this all over over debut album “My secret lover”. Prince and many others made it popular in the early 80s. It’s has a very smart design and has pitch control for every channel and it’s very easy to use. Programming the Linn LM-1 is very simple compared to Oberheim DX/DMX and Sequential Circuits TOM. It’s strange that these old analogue drum machines seems to have their own life. They simply play as they wish, so eventhough i might be alone in the studio, it feels like a jam session.
- YouTube LM-1 Demonstration
The Theremin is one of the earliest fully electronic musical instruments. It was invented by Russian inventor LÃ©on Theremin in 1919. It consists of two metal antennas that sense the relative position of the player’s hand and produces an eerie sound heard on classic tracks by Led Zeppelin and the Rolling Stones. LÃ©on Theremin went on to invent the worldâ€™s first drum machine and even used his audio know-how to build spy equipment for the KGB.