- Lid sinds
- 17 januari 2003
- Mijn eigen kleine universum
Deze stond al eens genoemd in de Peter Forrest interview thread, en ook Wout z'n BBC studio komt er vandaan, maar toch de moeite om even apart te noemen.... de VEMIA veiling op http://www.spheremusic.com/
Even door de lijst gewandeld, en kwam toch een paar échte klassiekers tegen... gooi maar in m'n schoentje!
Even door de lijst gewandeld, en kwam toch een paar échte klassiekers tegen... gooi maar in m'n schoentje!
- Moog / Lintronic Advanced Memorymoog
Excellent Moog Memorymoog with the Lintronic advanced expansion (LAMM). Full MIDI, can send and receive MIDI CC for each knob/switch, CV/GATE outs, External Filter input, latest Lintronics ROMS
- Oberheim OB8
Very nice classic polysynth - one of German synth guru Juergen Haible's favourite synths, This one has the Page Two silk screening, MIDI IN, OUT and THRU, and is in cosmetically very nice condition. It sounds great too, except that some of the notes towards the bass end of the keyboard sometimes trigger sluggishly. Sounds like some contact cleaning is needed.
- Kurzweil K250 / Expander / RMX
The very rare 8 Unit height expander of the legendary Kurzweil K-250 Sampler / synthesizer. 12 Voices. FULLY EXPANDED! Approx. 400 instruments. (only 40 instruments were included in the standard version). Sounds include the legendary Grand piano and super acoustic basses over horns to pure synth sounds. Backlit LCD Display, 12 track sequencer. Sliders for envelope, brilliance, chorus, vibrato etc. 2 x 3 stereo outs (XLR and jack). Trigger input, MIDI, Synch in/out/true. 2 x pedal in. Has all hardware expansions like the parallel Mac port / all the 'sound blocks' (ROM samplings) and the all-important Sampler interface! (samples in rates from 5 khz to 50 khz and applies a 120 stage automatic envelope into the sample for max fidelity) (Max 1 minute sampling time). 12 bit but sounds like a whole lot more and with a special character). Mac software included in this sale (Mac-attack) for sound management etc.. You don't need the mac to sample sounds. Basic version of the K250 RMX was sold from 10.000 US dollars up depending on configuration in 1985. Very well maintained and good looking but a rack ear on the right side was bent back a bit in transit. Since this has been mended and since there are two layers of ears on the housing on top of each other on each side of the housing, and the bent one was the back version it is covered mostly by the front one so this is really not visible.
- Yamaha CS80
Complete classic CS80, including the lid, pedals, stand and (unusually) music rest. Vgc apart from the stand which is in need of re-chroming. There are three non standard pots just below the ring mod sliders but they have been disconnected, and two more pots underneath the volume pot. The owner has just tested his CS80 and this is his more thorough description:- ' The ring modulation slider in ring modulation section is sometimes a little noisy at end of it's travel (just a little). The second top A key does not sound with percussive sounds i.e. piano, guitar presets (might be able to have this fixed locally, but buyer would have to pay, and it might take some time) but works fine with strings, brass, flute etc ( pressure sensitivity works ok on it too ) The pressure sensitivity across keyboard seems fine, though you do have to juggle brilliance controls to make it right, having never played any other CS80's not sure what is absolutely right as far as this is concerned. Tuning is OK. 8/10 The front panel is in VGC with some hardly noticeable marks, keys are excellent. I have sustain and expression pedals. The lid has still all the tolex on it though there are some marks on the tolex. 8/10 due to marks on tolex. The legs would need to be rechromed to make them perfect ( Had been stored in someones shed for 10yrs.) I do not have bolts to attach them. 6/10 I have owned it for 9 yrs, It was serviced tuned and some parts replaced by BBC engineer about 8 yrs ago and has not been moved or had much use since then. Buyer must collect or arrange collection.'
- Moog 55 Studio System
A total classic, and getting harder and harder to find: a beautiful System 55. Two cabinets, all stock Moog modules, with the odd R.A.Moog 'Control Voltages' : 914, 904B, 904A, CV, 2*902, 2*911, 994, 3*902, 993, 911, 911A, 2*911 921A, 3*921B, 921A, 3*921B, 921, 923(!), 995, Blank, 960, 962 3*CP3A, 961CP, CP2, CP8A Keyboard isn't included. It has been given a 'connector overhaul', i.e. all Switchcrafts and Cinch-Jones are new. Shipment: I hesitate to offer this due to the very nature of the instrument - I did pick it up in person when I bought it in 2002. Nevertheless building two crates (I'll charge time and material) and shipment with FedEx may be possible (at the new owners risk and expense) but quite expensive due to the total size and weight. Customs and VAT: It may be worthwhile to mention that Switzerland isn't a member of the EU ...
- Fairlight cmi Fairlight IIx
NB NOW WITH MORE ORIGINAL MANUALS -see bottom of description. A classic Fairlight IIx, in great condition, and probably the original Gary Chang / Village Recorders Fairlight US machine. Only circumstantial evidence, but somewhat convincing. The previous owner was from San Francisco. He couldn't remember the name of the studio he bought it from (in 1996), and had a friend pick it up for him, but he did remember that the studio was in LA, on the west side. In sorting out the multiple boxes of disks, I came across a box with a Fairlight USA label on it that read 'To Gary Chang', and some disks with Gary's name on them as well. I contacted a gentleman that has an unofficial Gary Chang web site, who is in contact with Gary from time to time, and sent him some pictures. He forwarded them to Gary and then sent this reply: >I recently received a confirmation that your Fairlight did indeed belong to Gary Chang. Here's some futher info that Gary wrote: 'Wow, a flash from the past! Yes, that is my handwriting, and those are my old disks. Created around 1980-1981 at the Village Recorders, where the US offices of Fairlight resided. I was the Fairlight CMI product specialist during that period.' He was quite pleased to see the pictures so thanks for sending them to me. >Gary's currently busy scoring the Kingdom Hospital mini-series and he says it's one of the biggest projects he's had to date. Should be something special. The key for the Fairlight is on a 'vintage' plastic key fob with a label marked 'Fairlight'. Peeling back the label revealed that it was from a U-Haul rental yard, which according to Mapquest is a few miles away from the Village Recorder and Fairlight's old office in Santa Monica. In the boxes of disks were many old OS revisions, and many single density disks. It also appears the system once had the analog interface card installed, as there is a large ribbon cable leading to a connector on the back, but the cable is disconnected inside. From the old disks and the mentioned cable, I surmise this was once a Series I machine that received the full upgrade to IIx (with MIDI) in 1985, which is the date written on stickers (the tech's I assume) on all of the rev. 4A voice cards. It is 100% functional and complete, shows typical cosmetic wear for its age and studio use, and I would say 8/10 is accurate. I have the original owner's manual but none of the ancillary manuals, Like Page R, etc. Most of the other manuals I have as PDFs or have printed out. It will include about 30 new 8' disks, disk drive cleaning kits, a few of the obsolete SSM filter chips and a few spare light pen connectors. I hunted down the correct connectors and had to buy the special assembly tool when I replaced the original cracked connector - all included. Here's the inventory: 100 sound disks, including complete factory library and disks by the likes of Peter Gabriel, J.J. Jeczalik, Will Alexander and Gary Chang. 3 boxes of new, blank disks Approx. 50 old OS and utility disks that can be reformatted and reused. Multiple copies of the final IIx OS V4-C5/R1-MIDI-20 QDOS diagnostic and formatting disks (multiple copies) 2 disk drive cleaning kits, 1 of which is new and unopened Large disk storage box (shown in pics atop the music keyboard), 9 plastic disk boxes other than the 3 shown in the pics (12 total) 2 spare SSM2045 analog VCF chips 5 spare light pen connectors with pins and special assembly tool (new) Original User Manual, copies and PDFs of the Page R manual and Service manual AND SEE BELOW!!!!!!!!!!!! All cables for plug-n-play operation Also, the CPU has been treated with acoustic insulation mats on the insides of the panels and is whisper quiet (for a Fairlight!) I will ship world-wide at the buyer's expense. I will include at no cost the Quiklok Z stand with pull out keyboard shelf shown in the pics if the buyer collects it locally or arranges for their own packing. Otherwise, I will have everything (less the stand) professionally packed for shipment. The pictures were taken on October 15 and the CMI was working perfectly as usual. THE MISSING MANUALS (plus!) HAVE TURNED UP!! Each of these are original Fairlight manuals: Series IIx Manual Supplement - February 1985 Music Composition Language -February 1983 Page R - Real Time Composer - July 1983 Film Music Processor - May 1984 OS9 Level 2 Editor - Version 2.4 OS9 Level 2 Commands And these two bits of original history: Fairlight Telnet Modem Program Operation Manual - October 1985 (Marked Preliminary) The Qasar Dual Processor Microcomputer Operation Manual - December 1980 All are in wonderful condition!
- Roland System 700 Upper Right cabinet / Roland System 700 Sequencer module / Roland System 700 Main console & keyboard / Roland System 700 Main Console
The upper right System 700 cabinet, with Frequency to Voltage, Envelope Follower, VCA, Multimode Filter, and eight-channel audio mixer. With photocopied user manual, and lead for connecting to main cabinet. Power is usually supplied from the main cabinet, so a buyer who doesn't have a main cabinet will need a power supply. NEW REDUCED START PRICE!
The classic, massive sequencer module from the System 700. Owned by the same person since 1985, and previous to that by only one other person. The mode switch (A/AB/ABC/Manual) is a bit stiff but works fine. Normally gets power from the main console, so will need a power supply if bought by someone who doesn't have a main console. Comes with a copy manual and the lead for connecting to a main console.
This main console and keyboard from the classic massive System 700 have been owned by the same person since 1980. Excellent condition, powerful modular system. With supplementary CV/gate inputs added below the front main panel - that is to say 3 CV inputs and two gate inputs. With power supply and original owners' manual. NEW LOWER START PRICE!
Main console from the classic System 700; two owners from new; with copy user manual, and power supply provided. Three CV inputs and two Gate inputs added on cabinet below panel. From the same careful owner as the other System 700 lots (3761-3). The left-hand VU meter light needs replacing.
- Electronic Dream Plant Wasp
EDP Wasp in splendid condition. Needs to go 'cause I have two... The Wasp is in splendid condition and lacks all the standard faults normally seen on the Wasp: No wear to the keys, no cracked corners or parts of the case broken off. All the knob caps are still there. A few minor modifications made by former owner: Pitch knob of oscillator relocated to let tune be in the 12 o'clock position. Metal ring added to the 9 volt input to avoid damage to the panel. Small red LED added to LFO to show speed (and serves well as an on/off indicator as well). No major blemishes, all screws are originals. Battery function works as good as if you run it with external PSU. Speaker and all jacks are problem free. Volume potentiometer could need some contact spray or a simple exchange. Former owner has marked the bottom with his personal number. I have a receipt for my purchase and can also supply his contact info if in doubt. Serial number not known since the label belonging in the battery compartment is not there anymore... Can include external UK PSU if wanted. Comes with copy of original manual and schematics/service notes.
- Oberheim OBX
One of the 18 lots at £18 start price. A nice condition OB-X - a really great instrument, and with Kenton MIDI! Rich, rich sound, even in polyphonic mode. Put it into unison and it makes you wonder why anyone would ever pay even half the price for an OB-1. Five voices (originally an 8-voice, but there are five voice cards installed). A couple of faults: the light in the mains switch doesn't come on; and the keyboard is clacky - if you don't play it regularly, the keys tend to feel sticky at the top of their travel. (The actual one described in the N-Z book.). Cosmetically, it's mostly mint. There is one long scratch behind the controls, there is no plastic surround round the mod levers (which I **think** should be there!) and there is a little chunk out of the end of one end cheek. But the overall look is very nice indeed. And the Kenton MIDI (with documentation) gives you quite a lot more than some early MIDI implementations:- Five sources (aftertouch, controller X, Y; velocity and MIDI volume) can control one or more of VCF cutoff, modulation, pitchbend, or VCA. More exactly:- aftertouch can control modulation, pitchbend, and/or VCF; controller X or Y (any MIDI controllers) can control VCF; velocity can control VCF and/or VCA; and Volume can control VCA.
- Moog Taurus I bass pedals
The one and only bass sound that makes walls come tumbling down... good overall condition, all parts original, working fine, a few scratches in cabinet.
- SCI Prophet VS
Sequential Prophet VS Classic vector synth, with hard to find working original data slider and aftertouch (!), good condition, a few scratches mainly on cabinet bottom
- Roland MKS80 Super Jupiter
8 voice fully programmable Roland rack synth, one of the best classic polyphonic analog synths ever. Very good condition, a few small scratches in cabinet top and bottom
- Crumar Spirit
MINT CONDITION CRUMAR SPIRIT SYNTHESIZER (DESIGNED BY BOB MOOG) AND CRUMAR VINYL CARRY BAG The Crumar Spirit was originally designed by Bob Moog (himself), Jim Scott & Tom Rhea in 1982, and released back in 1983. It was not a commercial success so only about 50 to 100 of these beauties exist! This example is about as mint as you will find. Serial Number is 00119, and includes an original Crumar vinyl carry bag for the Spirit synthesizer. Also includes the operation and service manuals with schematics. It is a full featured analog monophonic synthesizer with 2 VCO's with a pretty fat tone, but not as much as the classic 3-VCO Minimoog. However it is considerably more flexible than the latter. It has a basic 37-note keyboard without velocity or aftertouch. The two oscillators feature basic sawtooth, triangle and square waves and can be synced together. The filter section is very nice featuring low-, high- and band-pass filters and switchable 12dB or 24dB slopes. Other features of the filter include an independent envelope with inverted and normal ADSR, key tracking and single or multiple triggering of the filter. Some other features of the Spirit include a built-in ring-modulator, an Arpeggiator with 3 different patterns and that can be linked to the LFO, and there's an external audio input for running external sounds through its filters, LFOs or Ring Mod. For the hands-on approach, the Spirit is sure to please. There are 24 knobs, 10 switches and 15 sliders to start. There are 3 performance wheels for controlling the Pitch, Mod-X and Shaper-Y modulation effects (see LFO specs below). Using those with the Arpeggiator can get pretty wild. The Arpeggiator features 3 modes: Ripple (Up/Down), Arpeggio (Up several octaves) and Leap (Goes up 1 and then 4 octaves). There are also Auto and preset Glide modes for getting some elasticity or bending effects. Since all the LFOs, envelopes and filters are quite flexible you are sure to get some weird noises, fat basses, synths, etc. with the Spirit. It has a 37-note keyboard with 2 VCO's. There are saw, triangle, and several square waveforms on both oscillators. You can sync both oscillators. The oscillators have an octave range from 32' to 4'. Ring Modulation, low and high pass filters, 12 DB & 24DB slope, single & multiple triggering, keyboard filter tracking, band pass filtering, loudness envelope, filter envelope, arpeggiator linked to LFO (mod-X) with 4 different arpeggiations, LFO 1 modulated 6 different ways, A second waveshapable LFO called (shaper-y) with 4 fixed waveforms and shape control adjustable from saw to reverse-sawtooth, performance panel to include Auto & preset glide, and 3 performance wheels, pitch, Mod-x, and Shaper -Y. with the latter 2 having 5 different destinations. An audio mixer with ability to mix OSC A & B with Ring Modulator, and Noise. LFO 1 also has a red noise generator as well as a brightness control for overall boost of the high frequencies. A filter envelope with inverted and normal ADSR & a loudness envelope which can be bypassed. Output Jacks: External Gate in, External Pitch in, Keyboard Pitch out, Keyboard Gate out, OSC B Pedal, Filter Pedal, Shaper Audio Out, ADSR Mix Out, External Audio In. Features - Bob Moog design! 37-note keyboard Saw, triangle and several square waveforms on both ocillators Specifications - Polyphony Monophonic Oscillators 2 VCOs (saw, square, and triangle waveforms); 32' to 4' octave range; Sync OSC 2 to OSC 1. White or Pink noise gen. LFO MOD-X: triangle & square waves, random, sample & hold, RED NOISE, and OSC B. Can be routed to OSC A, A&B, Pulse Width of osc A, Filter Upper or Lower. SHAPER-Y: FREE RUN - LFO with wave shaping control from sawtooth to Reverse-sawtooth. RUN - Simple sine wave LFO. KB HOLD & RESET Modes (envelope & filter effects). Shaper Y can be routed to OSC A&B, B, Pulse Width of OSC B, LFO Rate, Lower FIlter. SHAPE X with Y switch - additional modulation of MOD-X with Shaper-Y. VCF 3 filters, 12/24 db (high pass, band pass, overdrive), cutoff, resonance, kbyd track Effects Ring Modulator Keyboard 37 keys Memory None Control CV / Gate Date 1983
- Emu Emulator II+
Excellent condition EII+ Double memory and a decent box of disks, an interface cable to go to an apple classic or equivalent and 2 CD's with sound designer software and hundreds of banks of sounds. Almost all available banks are on these 2 CD's and you can store them on the hard disk on your apple. Much faster than floppy. A couple of small things. The screen has a light scratch and the 0 button retriggers sometimes. This is a $2 piece and could be replaced, but never bothered me much at all. Apart from that, all works fine. Big and heavy so I must charge for packing. Built in 8 track sequencer, 8 outputs, GREAT sound and getting harder to find. Includes original manual and the original vinyl flexi disk with demonstrations.
- Steiner-Parker Synthacon
RARE STEINER-PARKER 2-VOICE SYNTHACON MODULE WITHOUT KEYBOARD The rare Steiner-Parker Synthacon is a portable 3-VCO monophonic analog synthesizer. Normally, the Synthacon has a 4 octave 49-note (C-C) keyboard. However, in this module, the keyboard was removed, or more probably never installed. This looks like a factory modification where the Synthacon electronics were installed in a Tolex-covered rectangular cabinet with the Input and Output connnections made available on the top panel. The trim pot on the back panel is for adjustment of the 2nd voice control voltage. The Synthacon has 26 knobs, 3 trimmers and 43 switches (including 28 color-coded toggle switches). The Synthacon is said to be quite rare. It is unclear exactly how many were made and sold, though Nyle Steiner has indicated several hundred. This keyboardless module is the only one of its type I've ever seen. The Synthacon rivals the popular Minimoog with its fat tone, durable construction and stable, stable tuning. The Synthacon has the same circuitry as the modular SynthaSystem. Interestingly, the Synthacon's filter can self-oscillate like the Minimoog, but has an opposite polarity so it doesn't lose any volume when resonance is increased as do the Minimoog and Odyssey's filters. Nyle Steiner - 'We made a few with a keyboard that could play arpeggios of whatever notes were held down. As far as I know, we were the first to ever make an arpegiating keyboard. The idea was to play like the laboriously tuned 8 or 16 step sequencers, but in real time just by playing the notes on the keyboard. It was pretty neat for its time'. Each of the Synthacon's 3 oscillators can be modulated by a variety of sources: LFO, EG1, EG2, VCF, sample-and-hold, and other oscillators. White and Pink noise make for brilliant ocean/wind sounds. The VCF filter is a multimode resonant beast switchable between high, band and lowpass filtering. It can be used to filter each of the oscillators and the noise gens. The shape of the filtering can be controlled by EG2, sample-and-hold, VCO3 or the keyboard. The VCA amp can control the oscillators, noise and filter. And there are (2) envelope generators which can control the VCA, oscillators, noise and filter. Earlier models of the Synthacon had silver-faced front panels. Later a duophonic upgrade, the 'Two Voice Synthacon' was released. The Synthacon has been used by Earth Wind and Fire, Joe Walsh, the Doors, Pink Floyd, Frank Zappa and John Paul Jones (Led Zeppelin - In the Light). The Synthacon's architecture is divided into ten sections: Keyboard, Sample and Hold, Trigger Generator, Dual Envelope Generator, VCA, Three Mode Filter, Noise Generator, VCO1, VCO2, VCO3. Interestingly these sections are laid out with the signal path starting with the oscillators on the right and going left, reverse of the typical keyboard layout of most of the monophonic analog keyboards of the day. The Keyboard section has controls for Tune, Scale, Portamento (Glissando), Range Select (enables the keyboard to play over an 8 octave range), and pitch bend (a knob, not a wheel). The Sample and Hold section has controls for output level and trigger source, selecting between the keyboard or the trigger generator. The Trigger Generator has a knob for rate and switches for Manual Gate, Keyboard Gate, and Free Run. In the Dual Envelope Generator section, each envelope features knobs for Attack Time, Duration Level, and Decay Time, plus switches to select trigger sources (Keyboard or Trigger Generator) and Damp Select (ON/OFF). Env1 is hardwired to control the VCA only. Env2 can be routed to a number of different destinations using the toggle switches below the various sections. Attack sets the time required for the envelope to build to it's full level. Duration level sets the level at which the envelope sustains (whenever the input trigger is longer than the attack time). This knob has no effect if the input trigger duration is less than the attack time. When the trigger is shorter than the attack time, the emvelope goes directly into decay when the attack is finished if the damp switch is OFF. If the damp switch is ON, the envelope goes to 0 very quickly at the end of the trigger time, even if the attack is not finished. Decay sets the amount of time required for the envelope to decay once the attack is finished. If the input trigger is shorter than the attack time, decay is the time to go to 0. If the input trigger is longer than the attack time, then the decay knob sets the time to decay to the duration level and then after the trigger is released, the time to go to 0. There is also a common switch for the generation of complex envelopes using both envelopes. When the Common switch is ON, envelope 2 is combined with envelope 1 and both go to the VCA. Env 2 is still available at the toggle switches for other modulation duty. The Voltage Controlled Amplifier(VCA) features a knob for gain and switches allowing input of VCO1, VCO2, VCO3, Noise, and Filter. There is also an on/off switch which allows VCO3 to modulate the overall gain. From the original Steiner-Parker literature: 'STEINER-PARKER is proud to announce their newest synthesizer, a small, extremely versatile unit designed for live performance and also for studio use, called the SYNTHACON. The SYNTHACON'S extreme versatility is realized through the use of switching to achieve function interconnections. No patch cords are necessary to route signals and voltages from one area to another. This switching system makes it possible to achieve over 35 billion different sounding set ups, without ever turning a knob or depressing a key on a keyboard!!!' A full view of the original product description can be seen here: http://www.synthony.com/vintage/spsynthacon.html The Voltage Controlled Filter(VCF) is a multimode filter with a know which switches between Low-Pass, Band-Pass and High-Pass. It features inputs for VCO1, VCO2, VCO3 and Noise. There are knobs for frequency and Resonance(Q). Four toggle switches allow the VCF to be controlled by Keyboard, Envelope 2, Sample and Hold, and VCO3. The filter can also be bypassed alltogether. The Noise Generator features a switch for white or pink noise and a knob for level. The product literature discribes a 'minimum of 17 1/2 octaves', all oscillators (including VCO3) having a wide dynamic range of less than 0.1Hz to greater than 20kHz. All VCOs have knobs for Frequency and Level. VCO1 and VCO2 have an additional fine tune knob. VCO1 can output sawtooth or sine waveforms and can be controlled by any, all, or none of the following: Keyboard, Envelope 2, VCO3, VCO2, Sample and Hold, and Noise. VCO2 can output sawtooth, square, or pulse waveforms and can be modulated by any, all, or none of the following: Keyboard, Envelope 2, VCO3, VCO1, Sample and Hold. VCO3 can output sawtooth, square, or pulse waveforms and can be modulated by any, all, or none of the following: Keyboard, Envelope 2, VCO1, VCO2, Sample and Hold, Noise. VCO 2: Controls - Frequency (course and fine), Level, KBD Track, Output Select (sawtooth/square/pulse), Modulation by any, all, or non of the following: KBD, Env 2, VCO 3, VCO 1, Sample & Hold. VCO 3: Controls - Frequency, Level, KBD Track, Output select (sawtooth/triangle), Modulation by any, all, or none of the following: KBD, Envelope No. 2, VCO 1, VCO 2, Sample & Hold, Noise. The Synthacon has a total of four external inputs: through the Sample and Hold, through the Keyboard, in parallel with the Trigger Generator, and as control voltage to the Filter. From Steiner 1975 product literature - Back panel outputs include 'DC Ground and all operating voltages, plus keyboard control voltages. These outputs can be used to run optional modules with the SYNTHACON, (such as sequencers, etc.) which are manufactured by STEINER-PARKER as well as many optional units manufactured by other companies (using special adapter cables). Back panel connectors are also provided to allow connection to an external sound source for amplifying the SYNTHACON'S output as well as connections for all the external inputs listed above'. Power requirements: '117 Volts at approximately 15 Watts'. SPECIFICATIONS - Polyphony - Monophonic Oscillators - 3 VCOS (VCO1: sawtooth, sine; VCO2, VCO3: sawtooth, square, or pulse.) plus a White and Pink Noise generator Effects - Sample and Hold, Portamento VCF - 2-pole resonant low/band/highpass VCF filter VCA - ADSR, envelope generator, Trigger Generator Keyboard - 49 keys w/ controls for Tune, Scale, Portamento, Range Select (8 octave range), and pitch bend Control - CV/Trigger Date Made - 1975-1979 This Steiner-Parker Black-face 2-Voice Synthacon keyboardless module is in very good condition, fully functional. Includes a photocopy of the original product sheets, operation manual and service information.
- Rmi Harmonic Synthesizer
RMI (ROCKY MOUNT INSTRUMENTS) HARMONIC SYNTHESIZER EXTREMELY RARE!!!!! THIS KEYBOARD IS IN EXCELLENT CONDITION AT 30+YEARS OLD. CLEAN AS A WHISTLE INSIDE AND OUT. 'In 1974 RMI introduced it's first, and only synthesizer. Although it was housed in the familiar RMI case, it was a totally different design than any previous instrument. To my knowledge, it was the first digital designed synthesizer available on the consumer market. The instrument was probably years ahead in design, and not understood, except by the professional musician. 'The instrument was monophonic, with two independent digital harmonic generators. Each generator's waveform could be modified independently, effectively like having two synthesizers by depressing one key. The unit had AM and FM control, and voltage controlled filters. Its own expression pedal controlled each audio output. 'The instrument listed for $2995, and was manufactured through 1976.' ---Tom Emerick, Allen Organ Company [from the RMI Harmonic Synthesizer's promotional brochure] 'The Harmonic Synthesizer - a precise approach to synthesis. You are given accurate control of waveforms by Digital harmonic Generators [2 digital oscillators with 16 sliders for producing frequencies 1x to 16x]. At your command are relative intensities of all overtones to beyond audibility! Each of the two digital harmonic generators produce an independent audio output for exotic contrasts in stereo. Preset waveforms can be selected or mixed with the generators for instant changes. Dynamic effects are created by voltage-controlled filters with low-pass, band-pass, and high-pass mixable outputs. [The envelope generator for the VCF is very strange on the Harmonic Synthesizer. It has a knob to select 'Sweep Up', Sweep Down' and another knob for time.] Intricate melodic and rhythmic 'sequencer' patterns are created by holding chords. Digital circuitry insures tuning stability and 'drift-free' performance. The controls are rugged. The case is tough. RMI enjoys a history of building trouble-free instruments.'---- Quantity produced: 100? Used by Jean-Michel Jarre (Equinoxe) The RMI was perhaps the first synthesizer containing additive synthesis. The sound which it produced was very particular between analogical and numerical. One finds it in the Oxygen 4 chorus, Oxygène 5 (sequences), Oxygène 11. Production period: 1974-76 Mark: RMI (Rocky Mount Instruments inc.USA) Machine: Harmonic synthetizer Type of synthesis: Numerically controlled (digital) oscillators. Principle of synthesis: Additive Polyphony: 10 votes Oscillator: 2 digital Oscillators Filter: Low Pass, Band pass, high pass. Modulations: VCF wraps (sweep up, sweep down, time) SPECIFICATIONS - DESIGN - Frequency control is digitally programmed to insure stable, drift-free performance. Slidepots and controls are exceptionally rugged. Components are operated conservatively within their ratings. Layout is well-planned for serviceability. KEYBOARD CONSTRUCTION - Keys are the critical point of interface between man and machine. RMI shares over 30 years of building keyboards with its 'big brother' Allen Organ Company. Our key contacts are time-proven and reliable. Contact point, key travel and tension are individually adjustable for each key. The action is quiet, possessing all of the excellent characteristics associated with wood action. SEQUENCER - Percussion patterns or melodic lines will be played when chords are held. Sequence will count from bottom to top or random select. Insertion of key wedges allows indefinite repetition of a pattern. STEREO AMPLIFICATION - Left and right Harmonic Generators provide independent audio outputs for feed to musical instrument amplifiers. DIGITAL HARMONIC GENERATOR - 16 heavy duty slidepots adjust the intensities of the fundamental frequency and overtones to beyond audibility, allowing precise waveform control. A manual low-pass filter provides further coloration. Playing range can be moved 4 octaves by the Octave Shifter. Tuning is 'zeroed-in' by a fine vernier slidepot. Output level is controlled by a slidepot. Final volume is foot-controlled. Both Harmonic Generators are identical except for a one-octave tuning range on the right-hand generator. Outputs from the Harmonic Generator or any of the 5 preset waveforms (clarinet, pulse, flute, horn, reed) can be selected or mixed using colored illuminated pushbuttons. AM & FM CONTROLS - Frequency and/or amplitude modulation of the Harmonic Generators by any of the 4 waveforms is controllable in rate and degree. Noise modulation of frequency is available. Pitch Bend provides further frequency deviation upon attack of the note - time and depth are variable. Portamento is activated for both generators by a long touch bar immediately above the keyboard. Portamento speeds can be controlled independently for each generator. VOLTAGE-CONTROLLED FILTER - Low-pass, band-pass and high-pass outputs are mixable. Resonance is variable. Controls include envelope generator, LFO, sine and foot pedal. The left generator can be routed through the filter. PACKAGE - A tough black vinyl case houses the synthesizer. The keyboard and controls are enclosed by a cover for travel. Dimensions - 9.5 inches high x 42.5 inches wide x 23.5 inches deep. Four heavy chrome steel legs unfold from the bottom of the keyboard, adding 26.5 inches to the height. Extremely hard to come across, especially in this condition! Includes keyboard cover,folding steel legs, operation manual and schematics.