Ansel is showing off an absolutely insane (in the good sense of the word) tower of vintage rack-mount synthesizers. From top to bottom, we see:
Below the rack and just above Ansel we see a Sequentix Cirklon sequencer.
All in all, quite impressive – we at CatSynth are a bit envious 😺
From our friend Charles Whiley via Facebook.
Gracie is ready to program her beats into the vintage LinnDrum, while standing on a dk Synergy synthesizer. Below her we see an Oberheim SEM, a PPG Wave 2.5.,… and another dk Synergy!
Gracie always gets to play the best vintage synths at Synthetic Dreamscapes 😺🎹
Gracie of Synthetic Dreamscapes always has some great vintage synths to show off. Today she has an Oberheim OB-Xa polyphonic analog synth. As the quality manager for Synthetic Dreamscapes, she always “stands on everything they do.”
Submitted via our Facebook page.
Dali is the “critical ears of the studio”. And it’s a nice studio, featuring a Hydrasynth, Sequential Prophet X, Roland System-8, an Oberheim Matrix 1000, a Teenage Engineering Pocket Operator, and more.
Submitted by Dirk Vanstraelen via our Facebook page.
Oberheim the cat is back, this time with a JP Cooper Synapse MIDI router and processor. From Charles Whiley via Facebook.
The JL Cooper routers were among the earlier MIDI devices I read about as I was understanding what is needed to go from one synthesizer to a home studio. I never did get one (not practical for me at that time in the late 1980s), but I still have the Digital Music Corp MX-8 that got later on to serve a similar purpose.
That is one patient cat! Just chilling in the corner for the entire concert.
I also quite like the combination of instruments: vintage Juno-60 and Oberheim Xpander synthesizers along with the newer Arturia MicroFreq, Sequential Rev2, Moog Sub37, and more.
By Martin Stürtzer on YouTube, via matrixsynth.
“It is time for another Ambient / Berlin School session! I prepared three long tracks with pads and sequences from the Oberheim Xpander, Waldorf Iridium, Roland Juno-60, Sequential Rev2, Moog Sub37, Arturia Microfreak and my modular system. All sounds are midi sequenced from Ableton. FX are coming from U-He Colour Copy, NI Raum. The Rev2 is connected to Strymon Timeline and Eventide H9. My Juno-60 is clocked from Ableton ‘CV Tools’ through an audio output of the RME 802. I am playing the Arpeggiator and hope to have a proper midi interface for it next time.”
Little Aria rests atop an Oberheim Matrix 12. We also see another Oberheim synth in the background.
The Matrix 12 was one of the great Oberheim analog synths of the mid 1980s, building on the sounds of the OB-X and OB-Xa but with greater programmability and MIDI. In particular, it including “matrix modulation” that can be found in a great many synthesizers today.
The Matrix 12 is similar to the Xpander and the lighter Matrix 6. But [it] is much fatter and more programmable than either. Every control can have an effect on some other parameter thanks to Oberheim’s flexible design. For example, there are 15 types of LFOs and VCAs per voice! And there’s plenty of diagrams drawn out on the front panel of the synth to help you figure out some signal routing.Â
http://www.vintagesynth.com/oberheim/mat12.php
Dexter A. Catt of Circuit3 three is out with a new composition on the Sequential OB6. From Peter Fitzpatrick via our Facebook page.
Gracie is back and performing her duties as the quality manager for Synthetic Dreamscapes.
This Oberheim OB-Xa is not totally rebuilt yet, but our Quality Manager just had to get in on the action early!
The OB-Xa is one of the classic Oberheim analog synths and was featured in lots of early 1980s synth-heavy pop music. For me personally, it would probably be more interesting to have the SEM filter to complement the other instruments, but it still has a sound that would be instantly familiar to fans of this era.
The OB-Xa is a massive analog synthesizer with a very familiar and classic Oberheim sound. Its sound, size and power are very similar to the Prophet 5 from Sequential. However this one has up to 8 voices which can be split, layered and stored!
The OB-X was very similar to the OB-Xa except that its voices could not be split or layered and, more significantly, the OB-X had a lowpass-only discrete SEM 12dB/oct state variable filter, which had a great and classic Oberheim sound. The OB-Xa changed that in an attempt to economize manufacturing and increase stability by switching to CEM3320 Curtis chips for its filters. The Xa offered two switchable filter modes: 12 dB/oct (2-pole) or 24 dB/oct (4-pole). This hardware change resulted in a more agressive sound, not quite as creamy as the OBX original, but what still became a “bread and butter” sound of the Oberheim line.
Vintage Synth Explorer: http://www.vintagesynth.com/oberheim/obxa.php
