Jon Johnson

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Everything posted by Jon Johnson

  1. Futuresonus Parva

    Introducing a revolutionary new synthesizer combining the classic warmth of analog synthesis with the convenience of digital control 100% ANALOG SOUND From the oscillators and wave-shapers to the voltage-controlled filters (VCF) and snappy OTA-based voltage-controlled amplifiers (VCA), Parva's signal path is 100% analog. There's no DSP here. POLYPHONIC & MULTI-TIMBRAL Eight note polyphonic. Eight voice multi-timbral. Amazingly flexible. DIGITAL CONTROL Save and recall patches instantaneously, change parameters via MIDI, and route LFOs and envelopes to more than 40 destinations in the modulation matrix. USB HOST Parva is the first analog synthesizer to feature a USB Host port, which allows you to connect any class-compliant USB MIDI keyboard — or other controller — directly, without the need for a computer. Parva uses a consistent approach to selecting and editing information. There are three basic movements - turning, clicking (briefly pressing and releasing), and holding (pressing and holding until the display changes) a knob. Take a few moments to become familiar with the menus and controls. The black knobs offer direct access to the most commonly used parameters. No matter what else is currently being displayed, turning a black knob with show the parameter and it’s value as it changes. The only exception is the Master Volume knob in the upper right corner. No value is displayed when that knob is adjusted. The silver OSC, ENV, LFO, VCF, A, and B knobs are clickable rotary encoders used to navigate their respective menus. Turn the knob to scroll through the available menu options or adjust a value. Click the knob to toggle the currently selected option. Press and hold to return to the previous menu. OSCILLATORS 3 Digitally-controlled analog oscillators per voice Sawtooth, triangle, and PWM waveforms Variable-width saw waves Tunable +/- 5 octaves Hard Syncable Independent level controls ENVELOPES 4 4-stage (ADSR) envelopes per voice Exponential curves for punchy attack and natural decay Linear mode also available Loopable evenelopes Routable to >40 destinations MODULATION 4 LFOs per voice Sine, sawtooth, triangle, and square waveforms Random sample-and-hold Stepped LFOs Free-running or key-synced Routable to >40 destinations Polyphonic Aftertouch FILTERS 2 configurable voltage-controlled filters per voice 24db or 12db low-pass or high-pass modes 12db bandpass mode Self-oscillating Filter FM INPUTS / OUTPUTS Individual 1/4" stereo line-level outputs for each voice 1/4" left and right main outputs Stereo 1/4" headphone jack MIDI input and ouput USB port for MIDI input and output USB Host port for direct connection of USB MIDI controllers DIMENSIONS 10.5" x 8" x 3.5" (26.7cm x 20.3cm x 8.9cm)
  2. Timewind - Klaus Schulze

    Timewind is the fifth album by Klaus Schulze. It was originally released in 1975, and in 2006 was the twenty-second Schulze album reissued by Revisited Records. It is Schulze's first solo album to use a sequencer. For many years this was his only work available in the United States and was therefore rated higher by American listeners than 1977's Mirage or X of the following year. It was awarded the Grand Prix du Disque (Grand Prize for Records) of L'Académie Charles Cros. Evolving slowly but deliberately over the course of each album side, Timewind has been deemed an electronic version of an Indian raga. It resembles in many ways a longer variation of the third track from Tangerine Dream's classic 1974 album Phaedra, "Movements of a Visionary," but it remains a transitional work somewhere between the Krautrock of Schulze's earlier output and the Berlin School character of his following efforts. The intention of Timewind was to invoke a timeless state in the listener. Both track titles are references to the nineteenth-century composer Richard Wagner. Bayreuth is the Bavarian town where Wagner had an opera house built for the first performance of his massive Ring Cycle. Wahnfried is the name of Wagner's home in Bayreuth in the grounds of which he was buried in 1883. It is also a pen-name used by Schulze himself. "Bayreuth Return" was recorded on a two-track equipment in one take, and is essentially "live in the studio". Its rhythmic basis is a single analog sequencer pattern, transposed and manipulated in real time. (The manipulation primarily consists of changing the 'return' point of the sequence.) String synthesizer chords, improvised melodies, and complex sound effects are the remaining ingredients. "Wahnfried 1883", in contrast, is a slow piece that was composed and multitracked. Its main building blocks are layers of slow, shimmering pads and lines. The kaleidoscopic key changes without obvious 'home key' (the piece remains consonant throughout) may be seen as a musical nod to Wagner: also, a Leitmotif appears. An excerpt of the graphic performance score appears on the inside sleeve of the original vinyl version. The reissue bonus track "Echoes of Time" is a longer alternate take of "Bayreuth Return".
  3. Roland TB-03 Bass line Synthesizer

    The battery-powered TB-03 is a direct descendant of the famous TB-303 Bass Line Synth. The layout and controls are unchanged, so it works just like the original. It sounds like it too, thanks to Roland’s advanced ACB technology that recreates the hypnotic liquid grooves of the magic silver box. But the new TB-03 goes even further, with several enhancements not found on the original model. The four-digit LED display makes programming easier and more accurate, while overdrive and delay effects let you unleash a twisted, tribal wall of sound to send the crowd into a frenzy. Back in the studio, the TB-03 can send control information via MIDI or its USB port, the latter of which also functions as a audio interface. You know when you hear a TB-303—a hypnotic, tribal sound that works best in dark, crowded rooms with big sound systems. Using the same ACB (Analog Circuit Behavior) technology from the acclaimed AIRA series, the TB-03 accurately emulates the expressive, slippery sound of its older brother, and even adds a few surprises. Saw and square waveforms are available, along with all of the rotary control knobs that help shape the 303’s unique character, including tuning, cutoff, resonance, envelop mod, decay, and accent. If you’re familiar with the TB-303’s programming method, then you’ll feel right at home with the TB-03. The original Pitch and Time write modes are included, along with an all-new Step mode. Pattern programming is also enhanced by the LED display, which shows the current step in the sequence as well as showing fine tempo values (such as 125.5 BPM). The internal sequencer can be triggered externally via the trigger input, and you can even switch between write and play modes without stopping pattern playback, opening up new possibilities for live performance. Some of the best music is made away from the studio, so the Roland Boutique series runs on 4 x AA batteries, ready for when inspiration strikes. Alternatively, the TB-03 can run on USB bus power. The TB-03 includes several enhancements over the original TB-303. Firstly, the four-digit LED display makes programming easier and more detailed, since you now have a visual representation of the value being edited. Then there are a variety of overdrive, delay, and reverb effects that dramatically change the mood and tone of the TB-03, going from smooth to spiky to squealing. Programming patterns is also easier thanks to newly added functions that include step write, shuffle, and fine tempo control. Finally, the inclusion of MIDI and USB ports mean that the TB-03 can send and receive control information and connect easily to computer-based DAWs. The TB-03 includes MIDI IN/OUT ports and USB, allowing control information to be exchanged with other instruments and devices. This turns the TB-03 into a versatile controller, especially as you can use the CV/Gate output to control external analog gear and modular synthesizers. This level of control works both ways, thanks to the trigger input that lets external gear drive the TB-03’s internal sequencer. Once connected to a PC or Mac, both audio and MIDI data can be sent through the USB port. Via its USB port, the TB-03 functions as a high-quality audio interface, providing a simple and reliable way of recording directly to your DAW application. You can keep your favorite settings and sequencer patterns safe too via the USB data backup function.
  4. Moog Sub Phatty

    Moog Music’s engineers have crafted the Sub Phatty’s oscillators to perform with extreme accuracy and require almost no warm-up time. Just power up, dial in your settings, and put your fingers to work on the keys to summon crisp and detailed waveforms, a vibrant and articulate sound that more than honors the rich sonic density synonymous with Moog creations. The Sub Phatty is the first analog synth to feature Moog’s transformative new Multidrive section; at low settings Multidrive adds warmth and girth, but when pushed, it delivers a screaming snarl that is highly reactive to resonance, waveshape, and oscillator level. Experiment with this new circuit and unlock an undiscovered world of vivid analog tonalities. The mixer section offers innovations of its own, including a sub oscillator that outputs a square wave one octave below Oscillator 1. Use this powerful tool as a third oscillator for added depth, or to craft your own customized incarnation of monstrous Moog bass. Also in the mixer section is a noise generator voiced to deliver low-frequency content, rich with body and punch. If your goal is to sculpt analog percussion and sound effects, look no further. The Sub Phatty features a wide range of parameters just below the surface, and all features are easily accessible from the instrument’s front panel, or via the free standalone/plugin editor. Select filter poles, assign wave mod destinations, or specify pitch bend amounts — it’s all there. The Sub Phatty brings a fearless new voice to the Moog family of synthesizers. With its streamlined interface and dynamic sound design flexibility, this new synth fuses an unparalleled connection between human & machine, opening the door to unprecedented sonic exploration.
  5. EMS Synthi A

    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.
  6. EMS Synthi AKS

    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.
  7. Korg ARP Odyssey Rev 1 Duophonic Synthesizer

    The original ARP Odyssey was a 2 VCO duo-phonic instrument. Its most distinctive feature was its sharp, penetrating sound and its rich range of tonal variation. With a variety of functions and modulation possibilities provided by oscillator sync, sample & hold, pulse width modulation, high-pass filter, two types of envelope generator, and pitch bend using the PPC, it was able to create a versatile range of sounds. The ARP Odyssey reproduces the sounds of these components at the circuit level. Under the supervision of David Friend, parts were carefully selected and every detail was adjusted to replicate the original unit's distinctive synthesis. Broadly speaking, there were three versions of the original ARP Odyssey, divided by the date of production, with the major difference being the filter circuit. The ARP Odyssey provides all three of these different filter circuits, and allows you to select one of them with a single switch. Rev1 is a 12 dB/Oct circuit that produces a sharp, punchy sound. The ARP Odyssey has been downsized to 86% of the original ARP Odyssey. Carefully selected parts are used in the familiar slider section, providing an operating feel that's even smoother than the original. The keyboard uses a 37-note slim keyboard that features lighter weight and excellent playability. While making the instrument more compact and easier to use, we have also paid attention to ensuring that the mini-keyboard is uncompromisingly "playable." Although the keyboard has 37 keys, the transpose function lets it cover a broad range of seven octaves. New Drive switch In order to deliver a more powerful analog sound, a DRIVE switch is provided as a new function. Turning this switch on makes the VCA distort, generating a rough and raw sound. Added connectors such as MIDI and headphone output The connectors provided on the original ARP Odyssey differed by production date, but based on Rev3 of the original, the ARP Odyssey brings the specifications up to a modern standard. In addition to a MIDI IN connector and USB-MIDI port, we've added a headphone jack with adjustable volume (*). The XLR output jacks which had been unbalanced have been changed to noise-resistant balanced outputs. Patch cables included Quarter-inch and mini-size patch cables are included. If you connect a patch cable from the newly added headphone jack to the external audio input jack, you can produce a powerful sound by applying self-feedback. If you connect the GATE OUT jack to the TRIG IN jack, the EG won't be retriggered, allowing you to play legato. A dedicated semi-hard case that's ideal for storage and transportation is included. It sports the classical ARP logo, and has a sophisticated finish in a black tone. The corrugated shell structure ensures excellent impact resistance, and internal cushioning and pocket for small items is also provided.
  8. EMS VCS3 The Putney

    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.
  9. Moog Minimoog Model D

    The Minimoog is a monophonic analog synthesizer was released in 1970 by R.A. Moog Inc. It was designed in response to the use of synthesizers in rock and pop music. Now players could have the essential sound of the synthesizer in a portable case. Now players could have the essential sound of the synthesizer in a portable case. The Minimoog was designed to include the most important parts of a modular synthesizer in a smaller case and with the user not having to use patch cables to set up a sound. Long out of production but still used in modern contemporary music and beyond.
  10. Akai S612 MIDI Digital Sampler

    The Akai MIDI Digital Sampler S612 is an amazingly sophisticated electronic instrument which enables you to record (sample) any kind of sound, and reproduce it at any desired pitch or pitches. The following are only a few examples of the many sounds that the S612 can sample. Sounds of acoustic musical instruments (such as pianos, strings or percussion instruments). Sounds of nature (such as sounds made by animals, wind, wild birds and rain). Human voices, radio, television, CDs, analogue records, me chanical noises, etc. With the S612, you are able to perform musically with ease using a wide variety of sound sources (only a few of which are listed above). The acoustic instruments can be sampled and reproduced as realistically as the original sound. Existing synthesizers, up to now among the most advanced electronic musical instruments, are unable to sample and reproduce in this way. The S612 offers entirely new and unique ways to express your musical creativity. Realization of super high quality sound by 12-bit sampling technology. 6-voice polyphonic performance is possible in connection with MIDI keyboards, synthesizers, sequencers and many others. Realization of sampling time up to eight seconds. A short sampled sound can be continuously played with no time restrictions and without sounding awkward. The S612 contains an advanced scanning mode system with "looping" and "alternating" modes. The best splicing point for "looping" can be selected instantly by the automatic splicing system. A splicing point can be selected at any time by switching to the manual splice mode. Because the starting or ending point of the sample can be selected at any time, it is possible to play the sound after elimination of an undesired portion of the sample. It is also possible to reproduce the sample in reverse. It is possible to overdub samples and accumulate various sounds infinitely. The S612 is equipped with an L.F.O., which can add vibrato effects with a delay. The S612 is also equipped with continuous variable low-pass filters for adding a milder touch to samples. 2.8 inch sample disks can be used for data files. "Save" and "load" procedures are extremely quick. You can continuously build your own tone sample library with the specially designed Sampler Disk Drive MD280. (optional) Any type of sound can be tuned to a designated pitch by transposing it by a half step. This can also be done by tuning ±100 cent. The sound can then be stored on a disk. The S612 is rack mountable (EIA/2U type) for excellent operation in the studio as well as at live performances. It can be handled with ease and offers astonishing performance.
  11. Korg DS-8 FM Synthesizer

    The Korg DS-8 is an expandable FM synthesizer released by KORG in 1986 which used the Yamaha FM synthesis engine with 2-Op oscillators. 61 Keys in length with both initial and switchable aftertouch capabilities it stores up to 100 programs and 10 combinations in its internal memory. By using one of the optional non-volatile (but battery-powered) KORG RAM cards MCR-01, MCR-02, or MCR-03 this program memory can be expanded by extra programs and combinations: 100/10 for the MCR-01, 200/20 for the MCR-02, or 400/40 for the MCR-03. Programs can be backed up and received via standard MIDI dumps. The DS-8 features one joystick controller for bending pitch, timbre and modulation speed, one card slot for aforementioned KORG RAM Cards, MIDI IN/OUT/THRU jacks, a damper pedal, assignable pedal, assignable switch, program up pedal, one balance slider, four keyboard modes (Single, Layer, Double and Multi) and two slider controls which indicate the ability to edit the two oscillators from fast to slow. The three editable banks shown on the right side of the board (Function, Voice Parameter and Combi Parameter) provide multiple ways in which the user can edit the programs, banks and patches. At $1400 RRP the DS-8 was a revolutionary, cheap and affordable product for its time.
  12. Korg Wavestation - Aquila2

  13. softPop

    BASTL Instruments softPop
  14. S1000 Stereo Digital Sampler

    Akai Professional S1000 Stereo Digital Sampler
  15. S900 MIDI Digital Sampler

    Akai Professional S900 MIDI Digital Sampler
  16. AX73 Programmable Polyphonic Synthesizer

    Akai Professional AX73 Programmable Polyphonic Synthesizer
  17. MiniBrute SE

    Arturia MiniBrute SE Analog Synthesizer
  18. 707

    Korg 707
  19. Syntorchestra

    Farfisa Syntorchestra
  20. AX60 Programmable Polyphonic Synthesizer

    Akai Professional AX60 Programmable Polyphonic Synthesizer
  21. MiniBrute

    Arturia MiniBrute Analog Synthesizer
  22. MicroBrute

    Arturia MicroBrute Analog Synthesizer
  23. Origin Keyboard Synthesizer

    Arturia Origin Keyboard Synthesizer
  24. Origin Desktop Synthesizer

    Arturia Origin Desktop Synthesizer
  25. Virus TI Snow

    Access Virus TI Snow