Demo of the ROLAND JUPITER-6

October 9, 2013 · Posted in Uncategorized · Comment 

The Jupiter-6 is an incredible analog synth. All of the Jupiters have a sound that was unlike any other synthesizer and the Jup 6 is no exception. This sound is due in part to classic analog Roland technology in its filters, modulation capabilities and a thick cluster of 12 analog oscillators at 2 per voice. Easy and intuitive programming via front panel sliders, knobs and buttons for all your tweaking needs.

The Jup 6 is a scaled down version of the Jup 8 in terms of programming and polyphony. However the Jup 6 has some major improvements of its own such as newly added MIDI control and better tuning stability! While the Jup 6 does have MIDI, the implementation is very rudimentary and hard to control. The Jup 6 was one of the very first (along with the Sequential Prophet 600) synths to use the then new MIDI protocol, and the implementation on the Jup 6 is far from complete.

Synthcom Systems, Inc. offers the Europa firmware upgrade for the Jupiter-6 which gives it an up-to-date and comprehensive MIDI implementation. All parameters are controllable via Continuous Controller or SysEx. Europa also features an extensive arpeggiator which will sync to MIDI clock with programmable clock divisors and rhythms, and has about 50 more playback variations than the JP-6′s original Up, Down, Up/Down, and Down/Up. A Europacized Jupiter-6 is a thoroughly modern synth with a classic sound.

The Jupiter-6 is an excellent for ambient drones, pads, blips, buzzes and leads.

Video details:

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DEMO by Katsunori UJIIE.

Performance on the PPG wave 2.2 – “Electroplankton”

October 7, 2013 · Posted in Uncategorized · Comment 

Vintage synthesizer demo track by RetroSound
“Electroplankton”

all synthesizer sounds: PPG wave 2.2 Synthesizer (1982)
I use the internal arpeggiator for the main sequence.
recording: multi-tracking without midi
fx: reverb and delay

Lots of controls on this new vintage lead synthesizer and pattern sequencer

October 2, 2013 · Posted in Uncategorized · Comment 

T-C-M

Trans Computer Maschine is a semi-modular Vintage Lead Synthesizer + Pattern Sequencer. Modeled after two legendary mono synths and a custom analog sequencer from Germany.

3 Multi-Oscillators with Sawtooth, Triangle, Sawtooth-Triangle and variable Pulse shapes.
Color adjustable Noise Generator.
3 mode Ring Modulator.
Advanced Sample/Hold.
Selectable 2/4-pole resonant LP Filter with auto-oscillation.
HP Filter with bus selection.
2 exponential Envelope Generators offering 3 operation modes.
Unique Sequencer features like ‘skip’ and ‘set’ can be played live from MIDI keyboard.
Inter-patch Sequencer pattern ‘Copy/Paste’ feature.
Fully MIDI controllable.
Fully VST automatable.

- Added ‘Drift’ control for subtle analogue detuning adjustment.
- Added ‘Noise Colour’ modulation from multiple sources.
- Added routing to use ‘S/H Mixer’ as OSC3 ‘Minimoog modulator’.
- Extended Envelopes ‘Attack’ range to 200µs.
- Fixed/added Oscillators self-modulation via ‘S/H Mixer’.
- Improved Amplifier featuring light distortion with clipping indicator.
- Remodelled Low Pass Filter feat. 3 modes with resonance ‘Bass Recover’.
- Remodelled Oscillators feat. accurate upper harmonics and isolated phase.
- Remodelled Ring Modulator featuring true Odyssey behaviour.

http://cescato.net/T-C-M-II.htm

Time machine: MOOG MULTIMOOG Analog Synthesizer 1978

September 27, 2013 · Posted in Uncategorized · Comment 

Playing the Multimoog with reverb effects from a Lexicon MPX-500 and delay effects from a Roland DEP-5.

The Multimoog is a highly versatile analog monophonic synthesizer. It is basically an extended version of the Micromoog, which came out 3 years before. It features a ribbon controller and a touch sensitive keyboard. It has many interesting modulation routings and has a powerful, analog sound.

The Multimoog has 2 VCOs and a suboscillator. The filter can be modulated by the oscillator B in different ways. It has oscillator sync, noise generator, sample & hold, mixable oscillator waveforms, pulse width modulation, the 24 dB Moog filter and two envelopes. It has all interfacing you would expect from a good monophonic synth: CV / Gate IN and OUT, EXTERNAL SIGNAL IN, VCF IN. You can even play a Moog modular system from the Micromoog keyboard.

Closer look at 70s Stringensemble Trilogy

September 21, 2013 · Posted in Uncategorized · Comment 

Vintage gear demo of “70s Stringensemble Trilogy”

0.08 – 1.23 Roland VP-330 Vocoder Plus (1979)
1.24 – 2.32 Crumar Performer (1979)
2.33 – 3.53 Logan String Melody II (1979)
Used the special functions (human voices, brass filter, lfo, tone colour, chorus…) on the stringmachines.
bass: Moog Taurus 1 basspedal (1976)
drums: Keio Minipops Junior (1972)
recording: multitrack without midi
fx: a bit reverb and delay

Time machine: ARP Odyssey “Back In 1972″

September 14, 2013 · Posted in Uncategorized · Comment 

Vintage synthesizer demo track by RetroSound
“Back In 1972″

all synthesizer sounds: ARP Odyssey Mk3 analog synthesizer
recording: multi-tracking without midi
fx: a bit reverb and delay

He used the internal LFO with the sample/hold modul for triggering the sequence. for the sounds: FM, Osc-Sync and Ringmodulator.

Time machine: KORG DELTA DEMO

September 11, 2013 · Posted in Uncategorized · Comment 

Demo from the Korg Delta Vintage analog synthesizer/string machine.

Korg’s Delta is an analog semi-poly synth/string machine, basically a slimmed down version of the Korg Trident. Though limited in the range of sounds compared with other synths of the same genre, the sheer quality of the sound from this little beastie really does make it something of a marvel. It can be found used for cheap and is worth it for the retro synth strings and fat bass synth tones.

delta_01

The synth is split into two sections, Strings and Synth, for which there are separate audio outputs along with a combined output for headphones or mixing. Each section has its own controls. The String section has two pitch sliders (16′ and 8′) along with two tone controls (Bass and Treble) and variable Attack and Release controls to modify the sound. The Synth section has four pitch sliders (16′, 8′, 4′ and 2′). There is also a white noise generator along with a very effective 24dB/oct low pass filter (high pass and band pass options are included too) and full ADSR controls. The synth has no memory storage or MIDI, however it does has voltage control and gate ins and outs.

The string sounds are very basic but with its separate outputs and when mixed together with the polysynth you do get that classic ‘layered’ sound which is useful enough on this synth; and it’s fully polyphonic, so you wont be running out of notes! There is a handy joystick to the left of the 49-note keyboard for pitch bending and modulation capabilities. The construction is solid and heavy partly due to the implementation of a wooden base but also because it was designed for heavy usage on the road. Added bonuses: noise modulation, stereo out (strings/synth split), and the ability to combine synth and strings or turn off oscillators in the mixer section.

Yamaha RX21L Drum Machine

September 9, 2013 · Posted in Uncategorized · Comment 

Well the reviewer ain’t to happy ;-)

Craptastic Yamaha drum machine from 1985 featuring Latin sounds. Boring as hell. Get a Roland TR727 instead!
A quick play of the sounds and several patterns.

Quick demonstration of a pair of mid 80′s drum machines. Demo starts out with dry, direct signals from the machines and then I add a little reverb from Alesis MultiMix 8 at the very end. These machines are popular with circuit benders.

BX-13-MICRO Vintage Roland Analog Guitar Synth to Modern GR-55 Bus Converter with VCA

September 5, 2013 · Posted in Uncategorized · Comment 

The BX-13-MICRO is a most advanced, yet easiest to use, vintage 24-pin to 13-pin Roland guitar synthesizer bus converter.

The BX-13-MICRO tackles the problem of controlling the level of the normal guitar by including a voltage-controlled amplifier inside the BX-13, doing the same job as the voltage controlled amplifiers found inside a GR-500, GR-300 or GR-700.

And here is an added plus: no loss of tone as you turn the guitar volume down! The advanced VCA design does not roll off tone like a passive volume control. You get the full range of tone at any volume.

With an entirely redesigned circuit, the transparently converts the 24-pin format to the 13-pin format, and there are no levels to adjust, no additional cables, just clean, analog signal processing with no latency.

Time machine: ROLAND SUPER JX-10 PG800

September 5, 2013 · Posted in Uncategorized · Comment 

Released in 1985 the JX-10 (Super JX) combines two individual JX-8P’s for an outstandingly warm, rich and analog sound which is still used in many modern studios all over the world. This synth was the first Roland Synth to be fitted with a quality 76 note keyboard with velocity and aftertouch. Two DCO’s per voice, two ADSR envelope generators per voice, and a resonant lowpass & non-resonant highpass filters are only the beginning. It has a 12 voice polyphony for a total of 24 oscillators and it is by far one of the most programmable synths of its time! However, as on the JX-8P, knobs and sliders have been replaced by low-profile buttons and a nice LCD display. Although this may look sleek and elegant, it makes editing a chore. Assign parameters to the alpha dial for tweaking, one at a time, or get the optional PG-800 Programmer to provide traditional, hands-on, dedicated sliders for editing the JX-10′s parameters.

The JX10 has a Chorus effect and a chase-play Delay function. The chase-play function allows programmable delayed repeats of voices by alternating patches of the upper and lower modules. The simple chorus effect is either off, slow or fast. It has two programmable sliders (if you don’t use the PG-800) for some real-time control which can be recorded along with other effects and keyboard modes into one of the 64 Program Patches. This is in addition to its standard 50 preset and 50 user patch memory. A simple sketch-pad 1-track real-time sequencer is also on-board. It stores sequence data directly to an M16C card, or an M64C card for Patch/Tone OR sequence data. The M16C has a capacity of 400 notes, the M64C 1440, according to the manual.

The JX-10 also comes in a rack-mount version known as the MKS-70. It’s worth noting that the JX-10 can not be edited via SysEx, however the MKS-70 can which is one reason many have chosen the rack version over the keyboard. The JX-10 can make bulk dumps of its sounds over sysex, but only with (discontinued) Roland M64C RAM cartridges.

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