via Brandon.Analog Systems
Thursday, March 15, 2007
Morton Subotnick Writes About Control Tracks
Via Peter Grenader of Plan b/EAR.
"The following was written by Morton Subotnick in 1972 for the long-
defunct Synthesis Magazine in which he talks about his use of control
tracks in Sidewinder. This piece was actually published before that
album was released."
Title link takes you there. It's at the top of the page that reads "Click here for an article written by Morton Sobotnick on his use of control tracks on Sidewinder."
Update 12/7/2009:
Morton Subotnick - "Sidewinder"
YouTube via fallonmccoy
"american electronic composer Morton Subotnick's fabulous work"
"The following was written by Morton Subotnick in 1972 for the long-
defunct Synthesis Magazine in which he talks about his use of control
tracks in Sidewinder. This piece was actually published before that
album was released."
Title link takes you there. It's at the top of the page that reads "Click here for an article written by Morton Sobotnick on his use of control tracks on Sidewinder."
Update 12/7/2009:
Morton Subotnick - "Sidewinder"
YouTube via fallonmccoy
"american electronic composer Morton Subotnick's fabulous work"
Zeit Sequencer and a Little Cwejman
Click here for a couple more shots sent my way via an anonymous reader.
For previous Zeit and Cwejman posts including some video and audio click on the labels directly below this post. Note that I label all posts now, so you can click on them for more.
Roland System 100m
Click here for additional shots pulled via this auction.
via loscha
Details:
"4 x 112 Dual VCO Modules
This module consists of two independent Voltage control Oscillators. A variety of external controls are possible with this unit including, Pulse Width Modulation and strong and weak sync mode for phase locking. Simultaneous Manual Pulse Width Modulation is also possible. Each VCO has five different range settings from 32' to 2' as well as a Tuning control. Three different waveforms are available on each including, Triangle, Sawtooth, and pulse.
3 x 121 Dual VCF Modules
Two independent VCF's are part of this package. Each VCF includes the added feature of a built-in foxed high pass filter with a switch for turning the high pass functio off or selecting one of three cutoff points. Each VCF also includes three audio and three control inputs, and LED's for following signal flow. The green LED's light when a signal appears at the outputs, the red LED's light for overdrive (distort) condition.
4 x 140 Dual Envelope Generators & LFO
The 140-module and the 110 module provide the minimum basic elements necessary to produce a single synthesizer voice. Two voices can be provided with the added use of modules 112,121, and 130. ADSR's can be triggered from the keyboard's gate or gate + trigger, from an external gate, or manually with the front panel pushbutton. Both envelope generators provide inverted and normal outputs. Voltage controlled low frequency oscillator (LFO) has a built-in delay for delayed vibrato effects. KYBD TRIG switch allows phase locking of LFO output to keyboard trigger pulse.
6 x 130 Dual VCA
Two independent Voltage Control Amplifiers are included in this single package. Each VCA provides three audio inputs with continually variable level controls. Three VCA Modulation inputs are also included, each having its own level control. The outputs of each VCA have a low and high output jack with LED's to monitor output levels. An initial gain control that is continuously variable is included on each VCA and the user is allowed to choose between an exponential or linear response.
2 x 150 Ring Mod, Lfo and S&H
The most common function of the ring modulator is to combine two VCO outputs to produce metallic, bell clanging sounds. The Sample and Hold can be used for sampling an input waveform or for producing control voltage patterns based on that waveform. The musical result is patterns of notes such as arpeggios, random notes, etc.
3 x 132 Signal Mixer and Voltage Processors
Each mixer is a four-channel mixer with simultaneous inverted and non-inverted outputs. They can be used for summing control voltages and/or for mixing audio signals. Both include built-in posititve and negative voltage sources. A red LED indicates an overload condition. The module also includes a separate variable negative voltage source.
2 x 131 4 Channel Stereo Output Mixer
This four-channel stereo mixer has panning on each channel. The mixer can be ised in four track recording or to coordinate multiple synthesizer outputs. Also included are a stereo headphone output with separate level control: 220Hz, 440Hz, 880Hz. Mixer program outputs include left and right stereo outputs and separate mono output. Program outputs include both mini-jacks and 1/4" phone jacks for convenient connection to other parts of the synthesizer or to other studio equipment- Each program output also includes a red LED to show overload (distortion) condition.
1 x 165 Dual Portamento
Two independent portamento controllers are included in one module. Because the portamento time can be controlled by an external control voltage, you can be more expressive in the musical melody.
1 x 172 Phase Shifter and Effects Unit
The phase shifter and audio delay can be used for producing spatial effects. Both include convenient effect on/off switches and can be controlled from an external control voltage source so that two units may be used together for stereo effects, or may be used as a part of the sound synthesis process itself. The built-in control LFO has both normal and inverted outputs. The gate delay can be used where desirable to provide a delayed output from a pulse source, or it can be used as a pulse shaper. The gate delay also has a built-in high gain amplifier with a THRESHOLD control so that low level pulses recorded on tape can be amplified and shaped into a form which will trigger synthesizer functions.
1 x 174 Parametric EQ
This module has a four-band parametric equalizer. Each center frequency can be set exactly within the range of 20Hz to 20kHz, using four control knobs with overlapping effective ranges. Each frequency level can be set individually within the range of =,9 to 9. As an equalizer this module can be used to create various tone colours, and as an effector by exaggerating the setting of each parameter.
8 VCO's, 6 VCF's, 8 EG, 7 LFO, 12 VCA,
5 Mixers and the 'rare' modules - dual portamento, effects and parametric
add up to a MONSTER MODULAR"
EMS Putneys
Title link takes you to shots pulled via this auction.consecutive serial numbers 4409 & 4410. NOT separated at birth.
via Michael
GestureLong - Buchla 200e Sample
Title link takes you to the sample via Chris Muir on the Buchla 200e list.
Grant Richter on Cutting Down Modular Costs
Update: Adding a shot from this previous post on what this could look like. The shot is an Elby Designs Steiner VCF via cray5656's flickr set.Via Grant Richter on the Wiard list:
"If the public could change their perception of how a synthesizer module must be constructed, we could have a renaisance unlike anything in the past. The single most expensive component in a synthesizer is the aluminum faceplate. There is only one source for turnkey faceplates in the US and they are obscenely expensive. I pay $70 each for 1200 series faceplates. Your only other option involves using 4 different vendors. One to get the metal blanks, one to put the holes in them, another to anodize them and another yet to silkscreen them. Each step is a chance for errors to creep in. Also, there are 5 shipping charges to move everything from place to place or lose the whole batch. Or drop the box...
The people who make printed circuit boards are used to doing most of these operations to a higher degree of precision and more quickly and cheaply than machine shops. If the buying public was willing to accept faceplates made from fiberglass instead of metal, it would open the floodgates to new module designs.
You can hardly see the difference either, the fiberglass is painted and silkscreened just like the metal. Plus fiberglass is lighter and stiffer. I have heard this idea repeatedly from many people, but no one believes people will buy modules with fiberglass faceplates. It is not historical.
There are also design advantages to PC material faceplates. The faceplate can become part of the circuit. Touch switches for triggers or mode selects are essentially free. Things that are expensive in metal, like slots for linear pots or perforated grills for speakers, now cost a few pennies instead of a few dollars.
It is a practical idea, but the world is not yet ready for it."
Resting Shoulders
No title link, just the shot and details via this auction. Maybe they are all trying to figure out their next move.Details:
"Truly a legendary vintage synth, produced between 1973 and 1981 (now, that’s vintage!).
The SH-1000 has the distinction of being (according to Roland) the first keyboard synthesizer made in Japan. "It is a weird synth from a time when synth manufacturers were probably trying to figure out the best way to market synths to people outside academia. The SH-1000 thus has many color tabs on the front of it just like Grandma's organ. It even has two little holes drilled in the top so you can put in a little music stand. It's not quite a preset synth though. It does have 10 presets that are not editable other than to add vibrato or tremolo. But it also has tabs for creating your own sounds from scratch. You could select 32' square or ramp, 16' pwm, etc.
To edit the wave form, on the left side of the keyboard (where the chord buttons would be if it were Grandma's organ) are most of the controls for editing. It has an EG [envelope generator] with one slider each for ADSR. Its VCF section has a slider for both "freq" and "cut off". However, they work differently depending on whether or not you've chosen to flip the colored tab on front labeled "ADSR". This is in the section of tabs labeled "Spectrum (V.C.F.)". Other choices are, of course, "growl" and 'waw'."
Yamaha DX-200
Title link takes you to shots pulled via this auction.Details:
"From the Manufacturer- Combining a 6-operator 16-note polyphonic FM synthesizer with over one hundred rhythm sounds & a 16-step analog-style sequencer, the DX200 is one of the most unique "groove boxes" available today. Thanks to its realtime control knobs, you can easily get inside this once-forbidden FM architecture & effortlessly tweak the voice parameters to come up with totally bizarre sounds that have never been heard before. Many hip-hop and techno producers are already hip to the punchy bass sounds & radical metallic textures that can be created with FM, and now you can, too! If you've been looking for some fresh new electronic sounds for your dance tracks, the DX200 is your new secret weapon.
SPECS:
Main Synthesizer:
Method- FM
TG Specs- DX7 compatible, 6 Operator FM, Filter (FEG), Noise
Max. Polyphony- 16
Multi Timbre- 1
Sub Synthesizer:
Method- AWM2
Max. Polyphony- 32
Multi Timbre- 3
Effects: 13 types
Step Sequencer:
Type- 16 steps x 4 parts per pattern
MIDI CLOCK- Internal/External
Preset Pattern (Voice)- 256
User Pattern- 128 (Selection taken from preset patterns)
Song- 10
Other Features:
Free EG- 4 tracks per pattern
Scene Memory- 2 scenes per pattern
Hardware:
Display- 4-digit, 7-segment LED
Connectors- PHONES, STEREO OUTPUT (L/MONO & R), MIDI IN/OUT, DC IN
Controllers- Knob x 16, Switch x 51, Encoder x 1
Yamaha AC Power Supply Included"
More Details
Owners Manual
Review on emusician
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MATRIXSYNTH - EVERYTHING SYNTH
© Matrixsynth - All posts are presented here for informative, historical and educative purposes as applicable within fair use.
MATRIXSYNTH is supported by affiliate links that use cookies to track clickthroughs and sales. See the privacy policy for details.
MATRIXSYNTH - EVERYTHING SYNTH
