Analogue Solutions Colossus Megasynth Already A Hit

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Monster Formant Modular Synthesizer

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In the halls of the monster synths, a special place should be reserved for Siegfried Brückner’s Monster Formant Modular.

For the record, here’s our definition of a monster synth:

monster synth is a large synthesizer that could potentially kill you, if it fell over on you. Monster synths also are named, ie., Tonto or The Synth of Doom.

We don’t know if Brückner’s monster formant modular synthesizer has a name, but we’re giving it the benefit of the doubt.

The Elektor Formant modular synthesizer is a DIY synth project, in the style of a Moog modular, that was documented as a series of articles in Elektor magazine, starting in 1977.

via tomabeman:

This is the mega big DIY Formant Mudular Synthesizer of my friend Siegfried Brückner from Duesseldorf/Germany.

Many Modules are prepatched on the rear into 3 systems. The red one for the Sequencer, the yellow one for the Basspedal and the green one for the melody solo. Everything is reconfigurable on the front.

Czech Monster Synth ASYZ (1971)

Czech Monster Synth

Saturday Synth Porn: The ASYZ is a Czech monster synth from 1971.

Here’s the Googlish rundown on the ASYZ synthesizer:

In 70 originated from the Department of Sound Engineering Filmovéhoé Barrandov modular szstém ASYZ (analyzer and synthesizer sound), whose development has started in the late 60 years. The instrument was completed several years of additional modules, the final version was called the second jakol ASYZ The principal authors were Anthony ka designers and Bohumil Matousek, to which the early 70 years joined a sound engineer and designer Paul Pitrák, then as a sound engineer working with the tool.

Synthesizer and keyboard was not used to create sound effects or external signal processing .. As a manually controlled source audio signal generator was used a modified beat Bruel & Kjaer, producing sinusoidal oscillations in the range 20 Hz – 20 kHz. To control was also adjusted third octave filters of the same company for which the individual potentiometers nastavovala level in each zone and each zone can be switched buttons that are used to “play” in real time. Automated management tools ensure sequencer with three ceilings and sixteen steps, whose length can be adjusted. Among the modules are a VCO, a noise generator, filters, bass and treble, parametric filters, circular and phase modulators, amplifiers, merge, VCA, ADSR generators, LFO, random signal generators, envelope follower and auxiliary circuits. Levels of selected signals follow a small six-channel mixer. Signal parameters can be monitored using the built-in oscilloscope, an indicator of arousal, voltmeter and frequency counter for measurement. To connect the modules used sockets and cables used in analogue computers MEDA. Jacks on the inputs and outputs of audio and control signals are color-coded for clarity.
In the second half of the 90 years was added šestioktávová keyboard (FF) with separate stand and synthesizer could serve to normal play. For several years, but stopped. Now it has in its collections by Cinepost.

The text is quoted from the book Elektrofony II images courtesy of Mr. Milan Guštara, whom I would also like to thank you for the photo.

If you read Czech and can provide a more accurate translation, leave a comment! Also – let us know if you know anything more about this unusual vintage monster synth!

Czech:

V 70. letech vznikl v Odd?lení zvukové techniky Filmovéhoé studia Barrandov modulární szstém ASYZ (Analyzátor a syntezátor zvuku), jehož vývoj za?al již koncem 60. let. Nástroj byl n?kolik let dopl?ován o další moduly, kone?ná verze byla ozna?ována jakol ASYZ 2. K hlavním tv?rc?m pat?ili konstrukté?i Antonín ka a Bohumil Matoušek, k nimž se na po?átku 70. let p?ipojil zvuka? a konstruktér Pavel Pitrák, který následn? jako zvukový mistr s nástrojem pracoval.

Syntetizér nem?l klaviaturu a používal se k vytvá?ení zvukových efekt? nebo zpracování externího signálu.. Jako ru?n? ovládaný zdroj zvukového signálu sloužil upravený zázn?jový generátor Brüel & Kjaer, produkující sinusové kmity v rozsahu 20 Hz – 20 kHz. Pro ru?ní ?ízení byl také upraven t?etinooktávový filtr téže firmy, u n?hož se samostatnými potenciometry nastavovala úrove? v každém pásmu a jednotlivá pásma bylo možno spínat tla?ítky, která se používala pro “hru” v reálném ?ase. Automatické ?ízení nástroje zajiš?oval sekvencer se t?emi stropami a šestnácti kroky, jejichž délku bylo možné nastavit. Mezi moduly byly VCO, generátor šumu, filtry bas? a výšek, parametrické filtry, kruhové a fázové modulátory, slu?ovací zesilova?e, VCA, generátory ADSR, LFO, generátory náhodného signálu, sledova?e obálky a pomocné obvody. Úrovn? vybraných signál? se ?ídily malým šestikanálovým mixážním pultem. Parametry signál? bylo možné sledovat pomocí vestav?ného osciloskopu, indikátoru vybuzení, voltmetru a ?íta?e pro m??ení frekvence. K propojení modul? sloužily zdí?ky a kabely používané v analogových po?íta?ích MEDA. Zdí?ky na vstupech a výstupech zvukových a ?ídících signál? byly pro p?ehlednost barevn? odlišené.

Ve druhé polovin? 90. let byla dopln?na šestioktávová klaviatura (f-f) se samostatným stojanem a syntetizér mohl služit k b?žnému hraní. Za n?kolik let se však p?estal používat. Nyní jej má ve svých sbírkách spole?nost Cinepost.

via czechkeysmatrixsynth

Eric Persing’s OMG-1 iPad/Moog Frankensynth Freakout

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One of the coolest introductions at the 2011 NAMM Show was a synth that you can’t even buy, Eric Persing’s iPad + Moog frankensynth, the OMG-1.

Persing designed the OMG-1 as a contest promotion for the Bob Moog Foundation. This video, via SynthMeTV, captures the unveiling of the OMG-1 at NAMM.

In the first have of the video, Persing and Michelle Moog-Koussa talk about the contest and introduced the OMG-1. The second half of the video, though, captures Eric Persing’s OMG-1 frankensynth freakout!

Check it out and let me know what you think of the OMG-1 synthesizer!