"Here is the first production model Mattson Mini Modular analogue synthesizer serial number 07A-0001.
All sounds in this recording were produced on the MMM using the production run modules.
The percussion sounds were sampled and arranged on an Akai MPC-1000. The bass line was sequenced in Logic and the saw leads were recorded as performed.
The bass and lead sounds are produced using three oscillators in tune with various setting differences. The Jim Patchell filter is run with both LP and BP outputs run into stereo VCAs.
The only effect used is reverb from a t.c. electronic M-One."
MAKE presents: The Resistor from make magazine on Vimeo. "Simple, commonplace and absolutely vital to our electronic world - take a closer look at the current-fighting backbone of circuitry, the resistor!" via C. spot the synth.
Nanospheres from Hans-Jörg Scheffler on Vimeo. "The Artmatic engine is capable of producing stunning fractals. Here are a few examples. I arranged them in V-Track and added some music composed in Logic8 on my Macpro using only Spectrasonics Omnisphere for all the sounds including the percussion. This features one of the boys choir phrases named Kyrie."
Tunnel Vision from Hans-Jörg Scheffler on Vimeo. "This is a clip that shows Omnisphere in a more trance like setting. It is also a tribute to all the people in the Spectrasonics development team that made this wonderful softsynth possible. They are all mentioned in the splash screen in the final scene! Thank you very much indeed!
I rendered the video in Artmatics V-Track and composed the music in Logic 8 on my Macpro. All the sounds including the drums are coming from Omnisphere!"
Livid Instruments Ohm Manufacturing from Livid Instruments on Vimeo. "Manufacturing the Livid Ohm MIDI control surface by Livid Instruments. This controller is made and designed in our Austin manufacturing shop Livid Industry. Edit by Jason Senk."
via Giles Ward: "I've got an MS6 and a Matrix 1000 and they are pretty similar. I've got the Maad OS in there, that works really well (http://www.maad.net/ms6/index.html)
There are a few subtle differences between the MS6 and the Oberheim.
- No filter FM on the MS6 - The MS6 has its LFOs shared between multiple voices instead of 1 per voice - MS6 envelopes are linear slope - No matrix modulation on the MS6 - Less modulation on the MS6 seems to make it a wee bit snappier - MS6 is multitimbral - MS6 can be front panel edited but it's slow, best to use the CCs the Maad OS provides - MS6 looks even more like a rack-mount clock-radio
I'd say it's great for strings and pads. Makes a change from low-end Roland synths which rely on the chorus. Could be considered as a bargain Prophet 08 (same chips but less voices, knobs and modulation)."
via Chris Strellis: "Whilst we are on the subject, the Oberheim Matrix 1000 and MS6 both use the Curtis CEM3396 uP Controllable Dual Waveform Converter / Processor
"MiniMoog Model D - SN6101 Custom Modifications 4 Additional internal patch points were added to the moog to allow oscillator 2 & 3 pitch to track the filter section ADSR contour and to sync to oscillator 1 frequency. This makes it possible to do classic sync effects like those introduced by the Cars. The two switches on the top left, sync oscillator 2 & 3 to oscillator 1, and the switches next to OSC 2 & 3, add pitch Control Voltage from the Modulation Filter section."
Update: the images actually came from a listing of this Mini for sale. I needed to clear whether I could include that in the post. I can. Details: $3500 + shipping/Paypal fees contact philg at cgrafx if interested it's a .com address
YouTube via magevers "I have with this remake of mine previous demo/cover, of Vangelis Conquest of paradise with the JUNO 60, the sound adjusted for get a better sound quality.I converted to MP3 and now the JUNO 60 sounds much better and with more dynamics. So I hope that you get a better idea of the JUNO 60 and sorry for the bad sound of the previous demo.I hope that you like it! For stereo add &fmt=18 at the end of the URL. Everything was recorded on 12 audio tracks without using sequencer or midi and converted to MP3. JUNO 60: all sounds TR 606: drums EFX: SONAR 8"
"The self build Modular (MFM) doing the african drum like sound and the Synthesizers.com with the CGS Steiner filter and the Ian Fritz 5-Pulser doing the odd note. Some improvisation on the AX80, the theme on the Nord Lead 1 and a singing G on the Kawai 100F completes the music."
YouTube via bubagoo "Sorry this isn't a very good video, but it shows a really cool module I'm working on. The drum beat is coming from a Casio SK1 keyboard. The Melody is coming from my modular synth. The opening shot is an external audio signal processor that I built on a bread board. I have since built this into a full module which I will post on my site as soon as I have time. I am feeding the drum beat from a casio SK1 keyboard into the circuit. The circuit is then outputting clock pulses triggered by input volume spikes. I am using these clock pulses to control the modular synthesizer. It's a pretty cool way of syncing up your synth to a drum beat."
YouTube via zibbybone "Running through the presets of this FX processor with a Roland TR-626 as sound source. The cable going from the mixer to the camera's mic in jack is a little loose and some parts are a little distorted."
"The Roland GR100 was developed as a system to electronically process sounds with the string vibrations themselves being the sound source. This was Rolands first guitar synth made in the 1970's and is now a collectors item.
HEXA distortion circuit makes it possible to get clean distortion which could not be experienced by electric guitar. The GR-100 is equipped with the HEXA Dis tortion circuit which can distort the string vibrations that are divided into six sound sources by the Divided Pickup. The sound distorted by the HEXA Distortion is clean, deep, and powerful, with a rich sustained sound and beautiful harmony could not be obtained by a regular distortion or over-drive device.
HEXA Filter, cutoff frequency, and resonance for powerful filtering effects Each sound source from the string passes through the HEXA Filter circuit of the GR-100 as well as the HEXA Distortion. HEXA Filter is preadjusted in accordance with the guitar tuning (E, B, D, A, G), low for the lower notes and high for the higher notes. Therefore, unlike using the graphic equalizer or the parametric equalizer, it is possible to balance the string sounds and create a versatile selection of sounds, from soft to hard, using the Cutoff Frequency and Resonance.
GR-100 is equipped with three effect controls, and one of them is the Filter Modulation. It enables you to add a "wow" effect onto the electronic sounds regardless of Cutoff Frequency or Resonance, and controls the picking power (stress) with the SENS control and the depth of the "wow" effect with the PEAK control.
The second effect control on the GR-100 is Vibrato. By turning the Touch Vibrato switch ON and OFF, a powerful vibrato effect quite different from a manual vibrato can be obtained. The third effect control is Stereo Chorus which deepens and broadens the sound.
As the electric guitar amplifiers are made for electric guitars, they are designed to raise and emphasize the higher range, resulting in a thin sound when recorded directly out from line. GR-100 has a wide range and shows outstanding performance without losing the true nature of the guitar sound, making it suitable even for studio work."
Toccata in D minor (Bach)-Ketil Strand-Roland GR-100/G-505 electric guitar
"This is a follow-up to my previous Toccata version played on my Axon AX100 guitar synth. Some of the commenters on the Toccata video asked me to do a guitar version without the synth organ sound, so here it is. Instead I'm using a pretty rare device this time; the Roland GR-100 Electronic Guitar, which is a "hexaphonic fuzz" unit that is controlled from my Roland G-505 "synth controller" guitar. It creates a soft "fuzz"-type overdrive, but it's hexaphonic, so you can play any chord and hear all the notes clearly, unlike a regular fuzz/overdrive pedal. This was one of Roland's early GR series of "guitar synth" units that came out in the early 80's I think (pre-midi), but unlike the other Roland GR products this isn't really a synth, it's more like 6 fuzz pedals in one.. It's a fully analog guitar signal, but it uses the guitar's built-in hexaphonic pickup instead of the regular pickups. The GR-100 unit also has built-in Filter, Vibrato and Chorus effects, but I'm not using these here. The "hex. fuzz"is controlled from the Roland G-505 guitar's built-in controls and switches. Although the built-in hex. pickup on my Roland guitar basically is the same type as Roland's current GK pickups, it's not compatible with current guitar synths because of the different type of connectors. The Roland G-505 uses a large 24-pin connector that was discontinued years ago, but today Roland and Axon synth guitar systems uses a much more convenient 13-pin connector. So that's why I also have an additional Roland GK-3 pickup mounted on my Roland guitar. Other pedals used: Ibanez Tube King pedal with gain on "0" just to warm up the sound a bit, an Electro-Harmonix Micro POG adding both an octave up and an octave down, Exar Compressor, Boss RV-5 reverb, Boss DD-6 Dig.Delay, Boss PS-5 Super Shifter and a Palmer "The Junction" DI Box.
Update via Joe S. in the comments: "I have one of these. On my quest for a G-808/GR-300 setup, I stumbled across a G-505 and a GR-100 for sale. I thought at first that I might sell this setup when I found a 808/300; however, I can say now that will not be the case - as I enjoy the GR-100 a great deal!
The 300 apparently uses the hex fuzz circuit that is built into the guitar controller, but the 100 actually has provides its own hex fuzz circuit, which has a different voice - more "saturated" sounding IMO. The sustain mode is also unique to this unit (engaged using the toggle on the guitar). That, combined with the -12db/octave filtering (GR-300 has -24db/oct), inverted envelope mode, and the vibrato can really produce some interesting "synth-like" sounds, as well as that wonderful distortion tone heard in the seller's great demo video.
I'm playing it with a G-505, and it comes in doubling the Multimoog melody. It can also be heard in the bridge section with the chorus engaged (and phasing from a frequency shifter), and you can head a bit of the vibrato kick in just before the solo section.
Sorry I don't have anything yet with it more "up-front" in the mix, or featuring a more aggressive sound - but this might give you an idea of the subtle synthetic nature it is capable of. The sounds can get much more dramatic by opening up the filters and experimenting with the envelope sensitivity.
Overall a very fun little box, and great addition to an old 24-pin setup!!"
Note the keys are raised/angled from the body. I think this is the first time I've noticed this.
"The Yamaha DX 100 Digital Programmable Algorithm Synthesizer incorporates digital FM tone generation technology. There are 49 mini keys. The DX 100 has a programmable 24-voice INTERNAL memory(RAM) from which any voice can be selected at the touch of a button, two 96-voice PRESET (ROM) memories for a total of 192 fine preset voices, a 96-voice BANK memory that permits storage of PRESET voices in any configuration for one-touch selection, and a cassette interface that permits unlimited storage of FM voices. The DX 100 is fully programmable, allowing you to create your own FM voices or sound effects. Broad MIDI compatibility is also provided so the DX 100 can control or be controlled via other MIDI-compatible music equipment, even a wind generator! It comes with a Yamaha power converter and will also run on batteries."
