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  1. 1 point
    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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    Following the announcement of MiniBrute 2, Arturia have also revealed an exciting new sequencer variant: the MiniBrute 2S. This is the second of three new products which will all be available at stores from March 2018. MiniBrute 2S is a sophisticated analog monosynth sharing the signal creation, sound shaping power, and modular capabilities also found in the newly announced MiniBrute 2. It replaces its keyboard with a set of performance pads as well as an advanced, intuitive and addictive, triple-layer sequencer with space to save up to 64 sequences, and the ability to chain them together to create flowing performances. Its multiple layers not only let you create melodic sequences, but also create extra levels of parameter automation to really make your music come alive. Perfectly geared toward the modern musician, MiniBrute 2S is a synth that promises to bring every element of your creative environment together, and unleash the true potential of modularity. As the keyboard-based version MiniBrute 2, MiniBrute 2S features semi-modular architecture, giving users the chance to rework its internal signal routing by patching into its comprehensive CV/Gate patch bay. The MiniBrute 2S can also take a commanding role in your modular setup, letting you use external modules to affect its sound, or send signals or sequences from the MiniBrute 2S to your Eurorack modules. Arturia’s latest small-but-mighty monosynths are the successors to their debut analog instrument, the MiniBrute. The first incarnation was released in 2012, and turned the industry on its head, offering a unique, affordable analog synth experience with attitude. The MiniBrute 2S features many of the amazing features that made its predecessor a must-have instrument, including mixable waveforms, the acidic Steiner-Parker filter, and the chaotic Brute Factor. MiniBrute 2S also features the all-new Arturia Link, an exciting innovation that will help unify and democratize your creative environment. Taking the vast sound design potential of MiniBrute 2 and supercharging it with an advanced, triple-layered step sequencer. Combining Arturia’s legacy of joyful, intuitive sequencers with attitude-packed synthesis, and expanding into the blooming world of Eurorack modular with a comprehensive mod matrix patchbay, MiniBrute 2S will give your music the Brute Factor™. Pure synth power Despite its power, MiniBrute 2S’s massive synth potential remains accessible and fun to use. Thanks to its analog, semi-modular architecture, you have hands-on control of every parameter, so you can oscillators, ride your filters, sync your LFOs, and control your envelopes on the fly to create a sound that’s unique yours, bound only by your imagination. Rewire its DNA Open up exciting new possibilities by patching in signals from your modular collection to alter MiniBrute 2S’s sound, or patch signals out to your modular to sequence or shape them from MiniBrute 2S’s myriad controls. With this synth at your command, your creative workspace will become an experimental sound laboratory. Step in line Not only does MiniBrute 2S feature an awesomely powerful, triple-layered step sequencer and multi-mode arpeggiator, it’s also decked out with high quality, pressure and velocity sensitive performance pads. MiniBrute 2S perfectly suits adventurous electronic musicians who feel comfortable dropping the traditional keyboard for a more contemporary interface.
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  5. 1 point
    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
  6. 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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    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.
  8. 1 point
    Arturia Origin Desktop Synthesizer
  9. 1 point
    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."
  10. 1 point
    FSOL Digitana SX-1 Synthi Expander
  11. 1 point
    Elka Rhapsody 610
  12. 1 point
    Erica Synths Black Classic System
  13. 1 point
    Charles Rice Goff III Biography III
  14. 1 point
    Modal Electronics 008 8-Voice Analog Synthesizer
  15. 1 point
    Clavia Nord Rack 2 Virtual Analog
  16. 1 point
    Synton Fenix II Modular Voltage Controlled Synthesizer
  17. 1 point
    Moog Model 15 Synthesizer
  18. 1 point
    GeneralMusic S3 Music Processor
  19. 1 point
    Arturia MatrixBrute