Somewhere around 2010 or so I ordered an Ultimate Synth board from MFOS and started populating it. A year or two later it became apparent that my long engineering career at Motorola would have a limited future, and we would leave the high cost of living area when the end came. Many unfinished projects got stuffed into boxes. In 2014 I moved everything I was willing to keep over 1200 miles north. I have not yet found that partially build Ultimate board.
For all of 2014 and part of 2015 I was living in a temporary residence with limited workspace. I ordered another board set and a panel set for the Ultimate and Ultimate Expander synths from MFOS. I got the boards rather quickly, but the panels were back ordered. By mid 2015 both boards were stuffed and some of the subcircuits had been tested with pots and switches dangling from wires. The panel set never came. Our new house was now finished and the MFOS boards went into a well marked box. Ray Wilson of MFOS passed away in 2016 leaving MFOS unmanned though the web site remained active. The rights to MFOS were purchased by Synthcube who now sells some of the material with new stuff added occasionally. Early in 2022 shiny new panel sets appeared on the Synthcube web site for both the Ultimate and the Expander. I ordered one of each, but for now they are sleeping in the same box with the populated boards
It also seems that my modular looks even more like a collection of randomly built modules, and maybe that's because it is. This is the third case that I have built for it, and it is still a mess. I think it makes sense to separate the eurorack and similar sized stuff from the large panel and other randomly sized DIY stuff. The completed MFOS synth will be quite large, so maybe it gets its own case, or shares one with the Behringer Deepmind and the old Roland JV-880. Most of my future DIY stuff will be eurorack size, or close to it.
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I had an idea of just a few modules making up a "normal" modular synth. Not being someone who would sell and buy modules and with a free access to cheap sheet metal (alu/zink), I went for an odd 7U format. Also I had once planned to use the (original) Soundlab or Thomas Henry's SN Noise (or Voice?) as a sort of "core", but I will maybe just add the SN Voice-Noice. Probably I will have to build me a new cabinet.
I dunno if I've written about it, but I have the MFOS 16/32-step sequencer, Thomas Henry's 16-step sequencer with double row of pots for control of clockspeed, Practical Electronics 128-step (that needs a diode-coded kbd, but I wonder if I can simply have a single potentiometer or a rotary encoder) and the 4 knob sequencer from Barton. I am going for drone or repetitive "music" obvious.
I dunno if I've written about it, but I have the MFOS 16/32-step sequencer, Thomas Henry's 16-step sequencer with double row of pots for control of clockspeed, Practical Electronics 128-step (that needs a diode-coded kbd, but I wonder if I can simply have a single potentiometer or a rotary encoder) and the 4 knob sequencer from Barton. I am going for drone or repetitive "music" obvious.
@Tubelab_com: Noticed that you have some Behringer stuff. I bougth the Crave a few years ago and had it much to check the (few) modules I actually finieshed and then of some reason decided I had no use for, or it didn't "fit my profile" ... 
Finally I finished my Ultimate MIDI, but have some (a lot) woodwork left, but I can just screw the pieces I have together and start fiddling. Having something to play with is always nice.
Also I got a set of PCBs from Elby-Design of the Ken Stone (Cat Girl Synth) collection. Many of his modules are really cool and innovative but sometimes it takes some hard investigations to get things right as not always are documentation 100%.
The modules I brought back from USA are done but untested - well, I sold the Crave.
I have two problems to solve right now (or before April 1st). I notice that some modules run on +/-12V and others on +/-15V. That seems to indicate dual voltage rails ...
And when we have our DIY/HIFI-meeting in April, the organizer has scheduled one hour of tube amps, concrete speakers and synthesizers and the speaker is Soundbrigade ... YAY!!!!! That will be fun but I need working stuff.
Finally I finished my Ultimate MIDI, but have some (a lot) woodwork left, but I can just screw the pieces I have together and start fiddling. Having something to play with is always nice.
Also I got a set of PCBs from Elby-Design of the Ken Stone (Cat Girl Synth) collection. Many of his modules are really cool and innovative but sometimes it takes some hard investigations to get things right as not always are documentation 100%.
The modules I brought back from USA are done but untested - well, I sold the Crave.
I have two problems to solve right now (or before April 1st). I notice that some modules run on +/-12V and others on +/-15V. That seems to indicate dual voltage rails ...
And when we have our DIY/HIFI-meeting in April, the organizer has scheduled one hour of tube amps, concrete speakers and synthesizers and the speaker is Soundbrigade ... YAY!!!!! That will be fun but I need working stuff.
People either love the Behringer stuff or hate it. I'm kinda in the middle there. Where else can you get a good analog synth for under $300. On the other hand, cloning extinct synths and selling them cheap is cool, but ripping off a direct copy of Arturia's Keystep is taking things too far.
I either feed my modular rack MIDI and CV/gate from the Keystep and a Korg SQ-64, or from the PC interface from Ableton live. Another cool "MIDI mangler" is the Conductive Lab's NDLR. You insert it in the MIDI line going to your synths and when your long winded repetitive loop on the modular gets boring, you press a few buttons or turn some knobs and it changes the pattern, key, or note sequence for you in a musically correct manner.
I use the Deepmind or the old JV-880 for chords, the "D" for Mini Moog style leads or bass patterns, and the Neutron for sounds that only the Neutron can make. The lonely child in the corner of the room is the K2. I don't use it much.
The last rendition of my modular case used a pair of Meanwell 15 volt SMPS's for +/- 15 volts, and a pair of 12 volt regulator chips to make 12 volts from the 15 volt rails. So far everything plays well together.
I either feed my modular rack MIDI and CV/gate from the Keystep and a Korg SQ-64, or from the PC interface from Ableton live. Another cool "MIDI mangler" is the Conductive Lab's NDLR. You insert it in the MIDI line going to your synths and when your long winded repetitive loop on the modular gets boring, you press a few buttons or turn some knobs and it changes the pattern, key, or note sequence for you in a musically correct manner.
I use the Deepmind or the old JV-880 for chords, the "D" for Mini Moog style leads or bass patterns, and the Neutron for sounds that only the Neutron can make. The lonely child in the corner of the room is the K2. I don't use it much.
The last rendition of my modular case used a pair of Meanwell 15 volt SMPS's for +/- 15 volts, and a pair of 12 volt regulator chips to make 12 volts from the 15 volt rails. So far everything plays well together.
I've got the REAL Polivoks, have got the critical parts (for VCF and VCA) to make a clone of my own, but I am eager to see what Uli and Vladimir are cooking - the Ulivoks.
I really admire Behringer for creating clones of old models as we, happy amateurs never would be able to lay our hands on cool stuff. A few years ago I had eyed up the Concertmate MG-1 in Germany. I lacked all ICs, all potentiometers and switches and even the keyboard and still was $300!!!!! I got mine for twice as much in USA; but it was working.
Btw, thanks for the NLDR tip, a bit pricey, but if my career as a movie star (filmed a short commercial yesterday) takes off ... I am very much into regenerative music and have a CatGirlSynth Infinite Melody and am looking into the Turing Machine. I got a 4 by 80 step shift register comin in from Unicorn-Electronics and wonder what I can cook up with that.
Yeah, and I am collecting odd ICs. The latest a "DCO" - M110 - from SGS-Ates. It has been seen as the core in a few Italian synths.
I really admire Behringer for creating clones of old models as we, happy amateurs never would be able to lay our hands on cool stuff. A few years ago I had eyed up the Concertmate MG-1 in Germany. I lacked all ICs, all potentiometers and switches and even the keyboard and still was $300!!!!! I got mine for twice as much in USA; but it was working.
Btw, thanks for the NLDR tip, a bit pricey, but if my career as a movie star (filmed a short commercial yesterday) takes off ... I am very much into regenerative music and have a CatGirlSynth Infinite Melody and am looking into the Turing Machine. I got a 4 by 80 step shift register comin in from Unicorn-Electronics and wonder what I can cook up with that.
Yeah, and I am collecting odd ICs. The latest a "DCO" - M110 - from SGS-Ates. It has been seen as the core in a few Italian synths.
I'm not a fan of their blatant cloning activities apart from things like price-gouged Moogs or Pro-one, etc..., Keystep being another example - at least add something new like advanced Chord Sequencing, make an original UI design. I'd rather they continue to make gear inspired by the vintage ones, but taken further. The DeepMind for instance started out as a Juno clone by the MIDAS guys, but then they improved upon it. Crave and Neutron are their own thing as well.
Another thing I don't like is the old GS forum where they polled for what synth Behringer should do next, then deliberately ignore the synths that polled highest.
Once you know how to make a better Juno, there's just a few more very manageable steps to make a better Jupiter, but no... they had to tease several unreleased synths for years, even before supply issues, as well as release gear really low on the poll if they're included at all, like WASP, Octave The Cat, etc...
It's not complicated, Behringer: give us updates of the legendary poly analogues of old for cheap:
What do you think?
Another thing I don't like is the old GS forum where they polled for what synth Behringer should do next, then deliberately ignore the synths that polled highest.
Once you know how to make a better Juno, there's just a few more very manageable steps to make a better Jupiter, but no... they had to tease several unreleased synths for years, even before supply issues, as well as release gear really low on the poll if they're included at all, like WASP, Octave The Cat, etc...
It's not complicated, Behringer: give us updates of the legendary poly analogues of old for cheap:
- Oberheim Matrix 12 & other great Obies
- Yamaha CS-80
- Elka Synthex
- Roland Jupiter 8
- Sequential Prophet-5
- Alesis Andromeda (a mix of that and the OB Matrix-12 in the same box would be amazing)
What do you think?
I had the little Radio Shack Moog "MG-1" for a time when I was in my late 20's. I recall reading an interview with Bob Moog, where he claimed he didnt get a penny in royalties from RS, even while using his name - actually, the company's - on that product. So there's that too; must've been frustrating for him.
The quote sounded like it and you can read more of his frustrations from the book "Switched On: Bob Moog and the Synthesizer Revolution" By googling "Radio Shack Moog "MG-1" bob moog penny" and reading the page that comes up in books.google.com.
How many readers of this thread have NOT Googled up the schematics of nearly every Moog, ARP or Sequential Circuits synth made. I would guess that many of us have built a few "Moog ladder filters" too. I even have one made with vacuum tubes. Some of the MFOS circuits look remarkably similar to early ARP stuff too.
I don't know the details on the Radio Shack MG-1, but I know that the patents on the filter, and likely other key parts would have expired in the late 80's or early 90's. It is also an unfortunate truth in today's litigious world that even a perfect patent must be legally defended against any reasonable infringement challenge, or it will become essentially worthless. I watched that scenario unfold from the inside as Hewlett Packard blatantly copied Motorola's "fractional N synthesis" technology in some of their RF signal generators but hid it pretty well until it was too late. Often today's technical secrets are not patented, since that shares them with the world. They are just buried 12 layers deep in a silicon chip where they are essentially hidden.
It isn't too hard to find the schematic for Behringer's Model D either, just Google "p0cqj schematic diagram." P0CQJ is the marking on the PC board itself, which is mostly SMD. The filter is the same as a Moog Model D but uses SMD parts. It is cloneable too.
I don't know the details on the Radio Shack MG-1, but I know that the patents on the filter, and likely other key parts would have expired in the late 80's or early 90's. It is also an unfortunate truth in today's litigious world that even a perfect patent must be legally defended against any reasonable infringement challenge, or it will become essentially worthless. I watched that scenario unfold from the inside as Hewlett Packard blatantly copied Motorola's "fractional N synthesis" technology in some of their RF signal generators but hid it pretty well until it was too late. Often today's technical secrets are not patented, since that shares them with the world. They are just buried 12 layers deep in a silicon chip where they are essentially hidden.
It isn't too hard to find the schematic for Behringer's Model D either, just Google "p0cqj schematic diagram." P0CQJ is the marking on the PC board itself, which is mostly SMD. The filter is the same as a Moog Model D but uses SMD parts. It is cloneable too.
Indeed, and on top of the ladder filter, a Model D has other modules that today can rather easily be DIYed for instance by getting the Yusynth layouts. A Mono synth is far easier to build than a Poly, the latter requiring coding for voice allocation.
Once the modules are done, you can go the easier route and make it MIDI-enabled using a micro-controller board of choice.... This opens up the use of existing MIDI Keyboards, many of which are quite cheap today, but most people even already have at least one.
For a more elaborate implementation with tighter timing, I prefer a custom Keybed scanner with Gate/Trigger, so pure CV out. Things like Arps and Seqs are much better then.
There is nothing electronically or build-wise in the latest Moog Minimoog re-issue that shows me it should cost $5K+.
We DIYers already knew the build cost of such a set of modules. People should have understood with the Behringer Model D that you can get similar sounds to the original legend and the newest one for far less than the $5K+ but I guess not for some people.
To make my DIY modular a Minimoog, I only need these: a module with two more VCOs, a Transistor-based Mixer, and the Ladder VCF. That's anything from a couple of days to a week's worth of work. It doesn't cost much.
Several of the other greats in synth-making had trouble with their brand. Dave Smith lost Sequential for many years until he recovered it. A similar thing happened to Tom Oberheim, until Uli bought the brand name and then, defying all expectations, handed it over to Tom.
Once the modules are done, you can go the easier route and make it MIDI-enabled using a micro-controller board of choice.... This opens up the use of existing MIDI Keyboards, many of which are quite cheap today, but most people even already have at least one.
For a more elaborate implementation with tighter timing, I prefer a custom Keybed scanner with Gate/Trigger, so pure CV out. Things like Arps and Seqs are much better then.
There is nothing electronically or build-wise in the latest Moog Minimoog re-issue that shows me it should cost $5K+.
We DIYers already knew the build cost of such a set of modules. People should have understood with the Behringer Model D that you can get similar sounds to the original legend and the newest one for far less than the $5K+ but I guess not for some people.
To make my DIY modular a Minimoog, I only need these: a module with two more VCOs, a Transistor-based Mixer, and the Ladder VCF. That's anything from a couple of days to a week's worth of work. It doesn't cost much.
Several of the other greats in synth-making had trouble with their brand. Dave Smith lost Sequential for many years until he recovered it. A similar thing happened to Tom Oberheim, until Uli bought the brand name and then, defying all expectations, handed it over to Tom.
For subtractive synthesis, it's very important, and even more so in a poly analogue. For a Minimoog build, the transistor mixer is also very important but yes, Moog = 'Ladder VCF' is a good shortcut. Moog Oscs also have the 'sharktooth' waveform.
For West Coast synthesis, sound sculpting is done more via wavefolding, waveshaping, ring modulation, etc...
The Radioshack Concertmate used to be a cheap way to get a Moog Ladder because over time it would develop some issues. So get a second-hand one to fix it was a good way to Moog sounds, but as people caught up with the fact that this was really a Bob Moog design, I don't think it's possible to get it cheap anymore.
Little-known fact: Bob Moog also worked on one of the most advanced Digital Synths of all time: the Kurzweil K2000. He was recruited by Ray Kurzweil as Vice President of New Product Research. He probably worked mostly on the Analogue sections though.
For West Coast synthesis, sound sculpting is done more via wavefolding, waveshaping, ring modulation, etc...
The Radioshack Concertmate used to be a cheap way to get a Moog Ladder because over time it would develop some issues. So get a second-hand one to fix it was a good way to Moog sounds, but as people caught up with the fact that this was really a Bob Moog design, I don't think it's possible to get it cheap anymore.
Little-known fact: Bob Moog also worked on one of the most advanced Digital Synths of all time: the Kurzweil K2000. He was recruited by Ray Kurzweil as Vice President of New Product Research. He probably worked mostly on the Analogue sections though.
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I've always like to reverse engineer the designs from those people who have talent and imagination that exceeds mine, not to rip them off but because I'm into 'industrial archeology' and prefer to build my own stuff. For synthesizers, there's one I've seen demonstrated on Youtube which I thought was really cool but have no idea how it works; it's a Rusky design called "Eternal Engine EMI" and of course, right now I won't spend a dime in that darn country.
Another area I've been interested in are those machines that generate the sound of old sci fi movies such as The Forbidden Planet but alas no schematics.
Another area I've been interested in are those machines that generate the sound of old sci fi movies such as The Forbidden Planet but alas no schematics.
I mentioned a while back that I got a "B stock" SQ-64 for about $200, which was a good price at the time. I keep seeing these sequencers priced everywhere from just under $200 to over $300, with an occasional $179 price.......until recently. I saw a Youtube video about the SQ-64 where the presenter talked about a sale price of $129 which is still available, so I checked, and it is.
There are being sold as "new units" not "B stock" like mine which did turn out to be a new unit. I recently reflashed mine to Version 2.0 for a fer new upgrades.
https://reverb.com/p/korg-sq64-polyphonic-sequencer
OK, I couldn't say no. During checkout Honey threw some coupons at Reverb and got another $10 off for a price of $119 with free shipping, but sales tax brought it up to $127. Now we will see if I can hook two SQ-64's together with a Keystep and a NDLR. Looks like I'll need a few more MIDI cables and TRS adapters.
Look Mum no Computer just put up a nice video about Sounds From Outer Space.
He points out that you could easily use mini jacks instead of bananas if you wanted to integrate it into a eurorack system. I dunno, the system looks very Serge inspired to me, think bananas are the way to go. Haven’t looked at the voltages though, maybe they are the same as Euro? I still haven’t gotten a synth yet. I have half a mind to get something like this though. Eurorack and compatible semi-modular are the obvious and popular thing to do but I am inexplicably drawn towards Serge and other banana based patching systems. Think I’m drawn to the idea of patch programmability and the better ergonomics. I’ll probably end up getting one of the new Taiga units from Pittsburgh Modular as my first though
He points out that you could easily use mini jacks instead of bananas if you wanted to integrate it into a eurorack system. I dunno, the system looks very Serge inspired to me, think bananas are the way to go. Haven’t looked at the voltages though, maybe they are the same as Euro? I still haven’t gotten a synth yet. I have half a mind to get something like this though. Eurorack and compatible semi-modular are the obvious and popular thing to do but I am inexplicably drawn towards Serge and other banana based patching systems. Think I’m drawn to the idea of patch programmability and the better ergonomics. I’ll probably end up getting one of the new Taiga units from Pittsburgh Modular as my first though
I did see that video today. Great that an innovative and really cool guy, Ray Wilson, gets the credits he deserves.
I think Ray designed his modules to fit whatever standard there is. The first big-small synth, the Soundlab wasn't designed but to be a plaything like the Noise Toaster, but he later proposed madifications to have the VCOs adhere to the 1V/oct standard.
Maybe I also have written about it, but I am struggling with a chissis for a remake of the Ultimate. It is based on the Ultimate but has full ADSRs, and added echo unit and MIDI input. All mounted one single board and semipatched using on-off-on switches.
I think Ray designed his modules to fit whatever standard there is. The first big-small synth, the Soundlab wasn't designed but to be a plaything like the Noise Toaster, but he later proposed madifications to have the VCOs adhere to the 1V/oct standard.
Maybe I also have written about it, but I am struggling with a chissis for a remake of the Ultimate. It is based on the Ultimate but has full ADSRs, and added echo unit and MIDI input. All mounted one single board and semipatched using on-off-on switches.