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    The Dark Energy III is based on the 2 version with its triangle core VCO and the 12 dB multimode filter. These were the essential distinctions from the original model. The current differences in version III are mainly in an improved circuit design. The VCO now needs no warm-up time, has a larger frequency range and an additional triangle wave. The two LFOs each have a reset input, also ADSR envelope has been improved. In addition, many access points for DIY modifications are accessible internally. These include VCO outputs (triangle, sawtooth, rectangle), hardsync, soft sync, linear FM, VCF outputs (TP / HP / BP), ADSR output and A / D / S / R CV inputs, as well as LFO outputs (triangle, square ) The multi-mode filter was explicitly not changed.
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    EHX introduces the 95000 Performance Loop Laboratory, the company’s most advanced looper to date, featuring six mono tracks and one stereo mixdown track per loop. It will record up to 375 minutes and 100 loops with a 16GB Micro SD card and switching between loops is quick and easy. The new 95000 is housed in a rugged, aluminum, all metal chassis with a control layout that has been optimized for use as both a tabletop and foot-pedal unit. This new design ensures that the player can take maximum advantage of the looper’s powerful performance capabilities. The 95000 also features a robust I/O including two audio inputs, each capable of handling a microphone (phantom power is included), instrument or unbalanced line input so the unit can readily connect to all sound sources. Left / right outputs, a Monitor out and a Headphone Out are included. Quick Specs Import / export .WAV files to MAC or PC via the built-in USB port TAP Button allows you to set loop BPM Quantize or non-quantize (free running) recording modes Speed adjust over a 2-octave range Overdub or punch in / out recording Reverse playback and recording Loop progress may be displayed in Bar/Beat format Expression pedal control over loop volume Left/right outputs, Monitor Out, Headphone Output EHX 9.6DC-200 PSU included Read more at https://www.ehx.com/products/95000
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    I love the IIp and the IIIp with sequencers wing. IIIp used on stage mainly by Klaus Schulze and Christopher Franke. Pict 1 : the IIIP + Seq @ Abbey Road studio (Beatles era) Pict II : a 1972 IIIp (+ Sequencers wing on the right)
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    The Moog Modular IIp was built as a moderately complex instrument that filled the place for Electronic Music Classes and/or in a recording studio.
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    I posted below all the releases of the project BERTHELOT (my real name). I will post later my different electronic music projects as TALES, ELEMENTAL NOISE, and my older project in time JIHEL. I make electro and neo-techno music as FLYING SPECIES; you can find the releases on the netlabel Murmure Intemporel. You can find too on the same netlabel ZREEN TOYZ, my acousmatic and post-concrete music project (a project closed in 2015). [ http://jlhb.free.fr/zreentoyz.html ]
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    BERTHELOT - Griffures de Parasitaires December 2017 https://archive.org/details/BERTHELOT_Griffures_De_Parasitaires
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    BERTHELOT - Halieutique de la griotte December 2015 http://freemusicarchive.org/music/Berthelot/Halieutique_de_la_griotte/
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    BERTHELOT - CHARLES PREMIER - LAURENT DOLCINO - LAUNAY - NOBODISOUNDZ Dérivations Polytoniques October 2015 http://freemusicarchive.org/music/Berthelot_-_Charles_premier_-_Laurent_Dolcino_-_Launay_-_Nobodisoundz/Drivations_Polytoniques/
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    BERTHELOT - Mécanique des limbes February 2015 http://freemusicarchive.org/music/Berthelot/Mcanique_des_limbes
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    BERTHELOT & LAUNAY - Imaginarium October 2014 http://freemusicarchive.org/music/Berthelot__Launay/Imaginarium/
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    BERTHELOT & SACCOMANI Thermal Balance Of Igloo In Melting Stage CD 2003 - Digital Release 2011 http://freemusicarchive.org/music/Berthelot__Saccomani/Thermal_Balance_Of_Igloo_In_Melting_Stage/
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    Duo_ is a Modular Synth with portable case, compact design and pure analog sound. No pre-connection and a 80-patchbay jacks you can basically create everything, but the charm are the complex patches for extremely unusual modulations, clicks, bleeps & laboratory sound, anyway is possible make fat bass lines, leads or the characteristic retro sound of Vintage Synths. Itīs a friendly start in the world of modulars, but also is a good complement to your system!
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    The Evolver series marked Dave’s Smith’s triumphant return to hardware synths and still sets the standard for sheer sonic ferocity. The Poly Evolver Keyboard features a plethora of Dave’s best ideas packed into a monstrously powerful instrument with 4-voice polyphony and a sound like no other. An analog/digital hybrid, the four-voice Poly Evolver Keyboard features four oscillators per voice—two analog and two digital (the digital oscillators feature the waves from the legendary Prophet VS). Classic Curtis analog low-pass filters and real analog VCAs add ample warmth and girth to the analog section while the digital high-pass filter, tuned feedback, and digital distortion provide sizzle and grit. But what really sets the Poly Evolver Keyboard apart is the way in which the analog and digital sides of its personality mesh—the digital processing doesn’t simply add effects at the end of the signal chain, but is tightly integrated with the analog electronics in a true stereo signal path with tuned feedback, distortion, bit crushing, and synced delays. It can also process external audio and has separate stereo outputs for each voice. Massive doesn’t even begin to describe its sound. Imagine being able to move effortlessly from thick analog smoothness to crisp digital edge—or anywhere in between—and you begin to get the picture. The LFOs, step sequencer, and three separate delays can all be synced for complex, evolving, rhythmic, time-based effects in true stereo. It’s a sound designer’s dream that can go from ultra creamy to ultra aggressive with the turn of a knob. If you need convincing, just listen to the demos. FEATURES Each voice is a complete Evolver with four oscillators per voice, two analog and two digital. True stereo signal path with separate Curtis analog low-pass filters in each channel for each voice. Each voice has its own independent effects (feedback, delay, distortion, high-pass filter, etc.). Highly accessible sound control for easy, intuitive operation: 78 knobs and 58 switches. Clocked, pulsing blue LEDs and hardwood end-panels. Each voice has an independent 16 x 4 step sequencer. Everything (sequencer, LFOs, and delay) syncs perfectly to MIDI. In Program mode, all four voices play the same sound. In Combo mode, voices can be allocated however desired: stack all 4 for a huge unison sound, split or layer the keyboard in any configuration, and/or play one or all sequences at the same time. Each voice can respond to a different MIDI channel. Each voice has its own stereo output in addition to the mix and headphones outputs. Stereo audio input that can be routed to any or all of the voices, enabling parallel audio processing of external stereo or mono signals. The output of one voice can be routed to the input of another for interesting double-processing effects.
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    Carols To Challenge Your Ears? Need an alternative this season? Try these: https://archive.org/details/NoelPortersHolidayCollectionVolume2
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    In celebration of electronic music pioneer Pierre Henry's (1927 - 2017) 90th birthday. Acousmatique is happy to present our first release officially launching the label on this day, for which we will celebrate every year with a new tribute release. We begin with reissue of the "Ear of God" collection. The culmination of Jack Hertz's "Eye of God" modern musique concrete series. Collecting all five album releases in one set with additional bonus tracks. You get to hours of recordings composed from found sounds, field recordings, and electronics in the musique concrete style. Available now on digital for streaming and DVD music disc for collecting.
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    UPIC (Unité Polyagogique Informatique CEMAMu) is a computerised musical composition tool, devised by the composer Iannis Xenakis. It was developed at the Centre d'Etudes de Mathématique et Automatique Musicales (CEMAMu) in Paris, and was completed in 1977. Xenakis used it on his subsequent piece Mycènes Alpha (1978), and it has been used by composers such as Jean-Claude Risset (on Saxatile (1992)), François-Bernard Mâche (Hypérion (1981), Nocturne (1981), Tithon (1989), Moires (1994), Canopée (2003)), Takehito Shimazu (Illusions in Desolate Fields (1994)), Mari King, and Curtis Roads. Aphex Twin talked about it in an interview Physically, the UPIC is a digitising tablet linked to a computer, which has a vector display. Its functionality is similar to that of the later Fairlight CMI, in that the user draws waveforms and volume envelopes on the tablet, which are rendered by the computer. Once the waveforms have been stored, the user can compose with them by drawing "compositions" on the tablet, with the X-axis representing time, and the Y-axis representing pitch. The compositions can be stretched in duration from a few seconds to an hour. They can also be transposed, reversed, inverted, and subject to a number of algorithmic transformations. The system allows for real time performance by moving the stylus across the tablet. There were a couple of attempts to reproduce the UPIC system using commodity hardware, for instance Iannix and HighC. IanniX, which has been sponsored by the French Ministry of Culture, is a graphical open-source sequencer which syncs via Open Sound Control events and curves to a real-time environment (like Pure Data, SuperCollider, Csound, MaxMSP, openFrameworks, vvvv…). For its part, HighC is currently used as a pedagogical tool in classes ranging from early teens to Master classes in composition, while some contemporary composers, such as George Hatzimichelakis have made it part of their toolset.
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    The Thought Box TB22++ is a 22-space synthesizer with 3 oscillators, a Q960 Moog-style sequencer, and an incredible array of modules in a rugged, fold-able cabinet. The folding cabinet is built like a tank and includes cable storage and a fold-out cable holder. TB22++ includes a power supply and a generous complement of color-coded, low-profile patch cables. Yes, you can close the system without removing your patch. TB22++'s folding enclosure offers a brushed-aluminium handle. Turn the sleeves on the ends of the handle to unlatch and unfold the system in one easy step. At the bottom of the enclosure is a channel holding the power supply along with storage for the patch cables. The channel's cover unfolds into a cable holder. Module functions include: MIDI converter, arpeggiator, slew-limiter/portamento, three oscillators each with EG and VCA, gate math, sample & hold, noise with low-pass filter, sine/square LFO, dual envelope generator, state variable filter with VC resonance, 4-channel mixer with signal processing, VCA with panning, tuner and headphone amplifier, 8x16 step sequencer with trigger I/O, sequential switch, 3-channel quantizer. Use TB22++ with any MIDI source such as a MIDI keyboard or a computer, or play it with the controls. The two Box11 cabinets provide 4 groups of multiples and the Q175A module provides multiples for pitch and gate. Folding enclosure with rugged hardware and a built-in power system. Goes anywhere. Low-profile, color-coded patch cables included. See more about these. The TB22++ is a Moog-Unit (MU) format synthesizer using 1/4" patch cables (included). Modules 1) Q174 MIDI Interface 1) Q175A MIDI Interface Aid with Arpeggiator, Portamento, Mults 3) Q167 Oscillator (VCO/LFO) with EGs and VCA 1) Q107A Filter (VCF) 1) Q114 Mixer++ 4-Channel and Signal Processing 1) Q157 SH++ Sample&Hold, LFO, Noise, Divider, Slew Limiter, Decay EG 1) Q148 Amplifier (VCA) 1) Q131 Blank-Single 1) Q173 Gate Math 1) Q179 Single/dual Envelopes with 4-Step Sequencer 1) Q960 Moog-Style Sequencer 1) Q962 Moog-Style Sequential Switch 1) Q171 3-Channel Quantizer Cabinetry 1) Folding 22-space TB22++ cabinet with fold-out cable holder and latching handle system, 2 Box11 frames, internal power harnesses and inter-cabinet power cable. Power 1) QPS6 Power Supply for 22-spaces, universal IEC input
  22. 1 point
    Fusion Drone System is here for those, who want to explore the dark territories of the sound, where only few have stepped in. Vacuum tube based Erica Synths Fusion Series modules are the basis of the system, while Black Modulator and Black Envelope Generator add plenty of modulation and noise generation possibilities. 43 patchpoints for extensive experiments in sound design, all analogue signal and CV path to create the drones of massive power. Want solid bassline with great 1V/oct tracking? Use CV/Gate sequencer or keyboard and you have it! Erica Synths Fusion Drone System brings distinct and powerful sound into eurorack. Fusion Drone System includes: 1 x Fusion VCO 1 x Fusion Ringmodulator v2 1 x Fusion VCF v2 1 x Black Modulator 1 x Black 8-Multi 1 x Fusion VCA v2 1 x Black EG 1 x Fusion Delay/Flanger/Vintage Ensemble 1 x 104HP One Row Skiff case 20 x patch cables
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    Electronic Music Studios first commercial product the VCS3 also known as The Putney is a portable synthesizer introduced in 1969.It was housed in a solid Afromosia cabinet housed the following modules interconnected by means of a matrix patchboard. The VCS3 was more or less the first portable commercially available synthesizer—portable in the sense that the VCS 3 was housed entirely in a small, wooden case, unlike previous machines from American manufacturers such as Moog Music, ARP and Buchla which were housed in large cabinets and were known to take up entire rooms.
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    The SYNTHI has a great variety of applications and it can be connected to many different kinds of electrical devices. It was designed with the following applications in mind. As a live performance instrument, connected to power amplifiers, generating its own sounds and modifying sounds from microphones. guitars. etc. As the main unit of an electronic music studio; one SYNTHI and two tape-recorders provide a flexible small studio, to which other devices can be added without difficulty. As a teaching aid the SYNTHI can demonstrate most acoustics phenomena very easily. It can be operated without risk by students, and can be used with any convenient indicating or recording device. The great flexibility of the SYNTHI comes from its basic design- unlike a television set or tape-recorder, in which the components are permanently connected to perform a specific function, the SYNTHI has about a dozen different devices which you connect together according to your particular need. The examples given in this Manual are intended to help you "get the feel" of the SYNTH!, and cover only a tiny fraction of its capabilities. In order to use the SYNTHI intelligently, it is necessary to understand what the devices do, and how several devices may be connected to work in combination. In this section the general ideas will be explained, and in the sections following these ideas will be applied to examples that you can try on the SYNTHI. The VCS3 and the SYNTHI A are very similar electrically. most of the differences being in the external design. The DK Keyboard has a similar finish to the VCS3 and the SYNTHI Keyboard is housed in a case matching the SYNTHI A for convenient transportation. The Keyboards are similar in concept but differ slightly in their controls: both are explained in It is possible to use the SYNTHI by itself, but you will probably want to use it as the basic unit of a more complex system. The SYNTHI is easily connected to almost all microphones, amplifiers, electric musical instruments and tape-recorders, and in addition there are special purpose peripherals made by E.M.S. Devices in the SYNTHI are of three basic kinds. First there is the source, or generator; this produces a signal without requiring an input, and so we represent it diagrammatically with an arrow coming out of a box. The SYNTHI has three Oscillators and a Noise Generator as its primary sources — the filter becomes a source when it is made to oscillate. and the Trapezoid output from the Envelope Shaper is also a source. The next kind of device is a treatment or process. This modifies one or more signals that are put into it. and we represent it diagrammati-cally as a box with arrows going into it and an arrow coming out of it: The Filter, Envelope Shaper. Ring Modulator, Reverberation Unit, and Amplifiers are all treat-ments on the SYNTHI. It is sometimes convenient to think of the Input Amplifiers as a "source" to the SYNTHI, but strictly they are treatments of the signal provided by a microphone, tape-recorders, etc. The third kind of device is an output device, and is the ultimate destination of the signal. Many device can be connected, such as power amplifiers, tape-recorders, other synthesizers, light-shows, etc All of these devices can be controlled by the knobs on the front of the SYNTHI. It is also possible to operate the controls electrically, and it is this fact which makes the SYNTHI so flexible. The devices themselves can turn the knobs, as it were. The SYNTHI does not distinguish Signal Voltages and Control Voltages, but a is important that you do. Typically Control Voltages are of lower frequency than Signal Voltages. It is not possible to hear sounds of frequencies lower than about 25Hz (Hz means ''oscillations per second") but a Control Voltage might be at a frequency of 8Hz (for a vibrato effect). or 1 oscillation per minute (for a slow fade). or 0Hz (i.e. constant) for a pitch determined from the keyboard. Sounds are made by connecting the devices together. In order to listen to an oscillator. we connect it to an amplifier and a loudspeaker. Although this is a very simple circuit (it requires only one pin on the patchboard of the SYNTHI) it is already capable of providing any audible pitch at a wide range of intensities —using manual control. since the Control Inputs are not connected yet.
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    The EMS Synthi A, first available in May 1971, and then in March 1972 a version of it with a built-in keyboard and sequencer, the EMS Synthi AKS, a portable modular analog synthesizer made by EMS of England. Most notable for its patch pin matrix, its functions, and internal design are similar to the VCS 3 synthesizer, also made by EMS. EMS is still run by Robin Wood in Cornwall, and in addition to continuing to build and sell new units, the company repairs and refurbishes EMS equipment. The Synthi AKS has been used extensively by Brian Eno in his art rock and ambient albums. He particularly made prominent use of its signal-chain editing capability in order to add color to his own voice as well as Robert Fripp and Phil Manzanera's guitar work. His early band, Roxy Music, supposedly requested that he join them after watching him tinker with the Synthi AKS for only a few minutes. When launched in 1972, the Synthi AKS retailed for around £450. There was an optional three octave (37 note) DK1 monophonic keyboard available for it, later the DK2 (Dynamic Keyboard 2) was available, this allowed independent control of two Oscillators, thus enabling the player to play two notes together. As with the VCS3, a Synthi AKS was worth considerably more than its original price by the late 1970s. The first 30 Synthi AKs featured a black and silver Touch pad, Spin-and-touch random note selector and an unplayable resistive touch sensitive keyboard. This was replaced by the familiar blue capacitive touch sensitive keyboard with integrated sequencer.
  26. 1 point
    Arturia Origin Desktop Synthesizer
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    Technics SX-WSA1R
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    The Shuttle: the Endorphin.es performance modular synthesizer. It is the result of 5 years of intense development—module after module was put together neatly to finally create an instrument in a class of it’s own a set of well selected devices for musicians to imagine music and bring it to life in the most pleasant way. With the Shuttle you obtain 5 Endorphin.es modules in a 84HP frap.tools PLUS case with handmade Endorphin.es signature silkscreen printing, a PSU, a set of cables and a carrying bag. The whole SHUTTLE is around 43-44 cm long—the approximate size allowed in almost every airliner to ensure safe traveling with your instrument. Portable power adapters ensure the use of instrument in any part of the world—no matter of the voltages coming from the power receptacle. The SHUTTLE panel is secured in the case with Befaco Knurlies for ultra-fast access of the backside of the modules for trimming the parameters of some modules, for setting jumpers (stereo/mono channels) on the Cockpit or installing the rich-in-timbres Strong-Zero VCO core. ‘Modular’ means flexibility in the first place—that’s one of the main reasons musicians like it. The Shuttle system may be used as an independent modular instrument, as well as it may be mounted into another case of your choice, or even to be disassembled into a separate single modules • The Endorphin.es SHUTTLE is a unique performance instrument containing 5 Eurorack modules in one single 84HP face plate • Shuttle Control (SC)—16 channel USB->MIDI->CV interface with almost infinite possibilities interpreting MIDI events into analogue control voltages—including CV/Gate, random or noise generators, MIDI or tap-clocks, utility LFOs and envelopes • Furthrrrrr Generator (FG)—dual triangle-core VCO with a waveshaper • Grand Terminal (GT)—dual voltage controlled gate with 8 resonant filter modes (ladder, diode, lpg, state variable, comb) • Dual envelope generators (voltage controlled) with looping/AD/ASR with arbitrary voltage to control slope shapes: from EXP to LIN to LOG without stretching the length of a certain slope (GT) • Cabin Pressure audio FX processor with 8 selected effects (GT) • Cockpit (CP)—4 stereo channel mixer with sidechain ducking • Gateway (GW)—dual 1+1 utility mixer and auto-tuners to scale, offset and invert voltages
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    Maplin ETI 4600 Synthesizer
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    Civilization Phaze III is the sixty-third album by Frank Zappa, released posthumously as a double album on October 31, 1994. It was the first studio album of new material from Zappa since 1986's Jazz from Hell. The album marks the third part of a conceptual continuity that started with We're Only in It for the Money (1968), with the second part being a re-edited version of Zappa's 1967 album Lumpy Gravy. The story line of Civilization Phaze III involves a group of people living inside a piano, and the menacing reality of the outside world. The album's themes include personal isolation and nationalism. Much of the album's improvised dialogue was originally recorded as part of sessions which produced We're Only in It for the Money and Uncle Meat, which contained some dialogue by the same speakers, and some of the dialogue on this album previously appeared on the re-edited version of Lumpy Gravy released in 1968. New dialogue was recorded by Zappa in 1991, and includes similarly improvised dialogue by members of the Ensemble Modern orchestra, Zappa's daughter Moon Unit and actor Michael Rapaport. Civilization Phaze III has been acclaimed as one of Zappa's best works, and has been appraised for its challenging, complex music, largely composed and performed on a Synclavier. Background In 1967, while recording We're Only in It for the Money with the Mothers of Invention, Frank Zappa discovered that the strings of Apostolic Studios' grand piano would resonate if a person spoke near those strings. The "piano people" experiment involved Zappa having various speakers improvise dialogue using topics offered by Zappa. Various people contributed to these sessions, including Eric Clapton, Rod Stewart and Tim Buckley.] The "piano people" voices primarily consisted of Mothers of Invention band members Motorhead Sherwood and Roy Estrada, Spider Barbour (leader of the rock band Chrysalis), All-Night John (the manager of the studio) and Louis Cuneo, who was noted for his laugh, which sounded like a "psychotic turkey". In 1992, Zappa recorded The Yellow Shark with the Ensemble Modern orchestra, and sampled their instrumentation with his Synclavier. After revisiting his archives, he decided to create an album which would combine the 1967 "piano people" dialogue, Synclavier music, performances by the Ensemble Modern, and newly recorded dialogue.[3][4] The project began under the title Lumpy Gravy, Phase 3 (with phase one being We're Only in It for the Money and phase two being the 1968 version of Lumpy Gravy), but was later changed to Civilization Phaze III. Zappa recorded new dialogue segments to accompany the original "piano people" recordings. The new dialogue speakers included members of the Ensemble Modern, Moon Zappa, Dweezil Zappa and actor Michael Rapaport. Concept and music The album's story line was conceived via improvised dialogue involving a series of randomly chosen words, phrases and concepts, which included motors, pigs, ponies, dark water, nationalism, smoke, music, beer and personal isolation. The music was conceived as an opera pantomime, and is dark and ominous. The Ensemble Modern samples allowed the Synclavier to produce richer-sounding music than Zappa's previous works using the machine, which produced the cruder-sounding music on albums such as Jazz from Hell. University of Washington music theory chair Jonathan W. Bernard suggests that Civilization Phaze III is heavily influenced by Zappa's disenchantment with avant-garde composition and Zappa's acute awareness of his own mortality. Bernard suggests that Civilization Phase III is Zappa's last, greatest attempt at being recognized as a composer of "serious music". Release Frank Zappa died before the release of the album. It was published posthumously by Barking Pumpkin Records on October 31, 1994, solely as a mail order album, with no advertising or promotion; the album subsequently received a strong number of orders from Zappa's fan base. Rykodisc was given the option of distributing the album nationally, but the label ultimately did not distribute it. The album was also not released with Zappa's other works in the 2012 reissue of his catalog, but it can still be ordered from the artist's official website. "I think it's very much about finishing his life," says Gail Zappa, his widow, in a recent interview. After he finished this, he said, "I've done everything that I can."
  32. 1 point
    FSOL Digitana SX-1 Synthi Expander
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    Elka Rhapsody 610
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    Erica Synths Black Classic System
  36. 1 point
    Charles Rice Goff III Biography III
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    GRP Synthesizer A4
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    Modal Electronics 008 8-Voice Analog Synthesizer
  39. 1 point
    Remembering Donald Buchla (1937-2016) http://www.newmusicbox.org/articles/the-electric-heat-of-creativity-remembering-donald-buchla-1937-2016/
  40. 1 point
    Dave Smith Instruments OB-6 Desktop
  41. 1 point
    Waldorf Microwave II
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    Synton Fenix II Modular Voltage Controlled Synthesizer
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    Waldorf Blofeld Synthesizer Desktop
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    The Sub 37 Tribute's new features include Duo Mode, which allows oscillator 1 and oscillator 2 to be played independantly, programmable arpeggiator/step sequencer, two modulation busses with assignable source and destination options, access to 256 presets, and a 37-note velocity sensitive keyboard with aftertouch. A fully featured mixer section contains dedicated controls and mutes for each sound source, as well as a level control for External audio input and Feedback - which feeds the output of the filter directly back to the input of the mixer. Also included are the powerful DAHDSR envelopes from the Sub Phatty with panel control of each extended function. * Tribute edition includes Bob Moog signature panel, Wood sides, and Aluminum extrusion ** The Sub 37 Tribute is a limited edition analog synthesizer created in honor of Moog Music founder Dr Robert Moog, his passion for education, and his love of music. For every Sub 37 Tribute sold, Moog Music will donate a portion of the proceeds to Asheville Area School Music Programs.
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    Moog Model 15 Synthesizer
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    The Generalmusic S3 Turbo Series Music Processor is an instrument conceived and developed with the most up-to date technology to guarantee a high degree of reliability and durability. The name “Music Processor” describes the instrument’s ability to handle the complete, creative process, starting from sound synthesis right down to the registration of multitimbral songs and the complete control of the entire MIDI setup. The S3 Turbo Music Processor is a digital synthesizer workstation with 6 MB of sampled waveforms as the basis for the oscillators which are processed through two variable filters and a programmable envelope. The S3 Turbo Music Processor came standard with 2 MB of sample ram and with the new Turbo feature, it allowed sample data to be loaded directly into the S3 from floppy disk without having to be converted on a computer first. Other new features added were 2000 sounds up from the original 1600 plus 100 Performances. The S3 Turbo retains all the great features from the original models like 209 waves in rom and two 12db variable filters that could also be set to act as one 24db variable filter. The keyboard still has Aftertouch and Velocity. With it's multiple sliders and buttons, plus two sets of MIDI jacks, make the S3 Turbo a great MIDI Master Keyboard Controller.
  48. 1 point
    GeneralMusic S3 Music Processor
  49. 1 point
    Dave Smith Instruments Prophet 6 Desktop
  50. 1 point
    Access Virus C Desktop