Misc SR-JV80 links & info

A growing collection of miscellaneous info about Roland SR-JV80 synths such as the JV-1080

Links

Expansion boards for sale

http://www.bn1studio.co.uk/product-category/keyboard-modules/?s=sr-jv80

 

List of expansion boards

http://www.bn1studio.co.uk/roland-sr-jv-80-expansion-boards/

 

Compatibility Guide for expansion boards

http://www.bn1studio.co.uk/roland-sr-jv80-compatibility-guide/

 

Roland main SR-JV80 page

https://www.roland.com/hu/search/?q=SR-JV80

 

Don Solaris

http://www.donsolaris.com/

 

Gearslutz Favourite SR-JV80 expansion boards poll

https://www.gearslutz.com/board/electronic-music-instruments-and-electronic-music-production/poll-3400-whats-your-favourite-roland-sr-jv80-expansion-board.html

 

Nathan Sheldon patches

http://www.nathansheldon.com/xp-80/patches.html

 

Soundprogramming.net page

https://soundprogramming.net/synthesizers/roland/roland-sr-jv80-expansion-boards/

 

 

Dolby Noise Reduction

Professional Dolby Noise Reduction

Dolby A noise reduction (NR) was used on millions of 16- and 24-track 2″ multitracks and 2-track masters. It’s a 4-band compander which boosts levels on recording, and compensates on playback, thereby reducing noise

Dolby SR, the successor to Dolby A, offered around 10 dB more noise reduction. Tapes encoded with SR require an SR card for decoding

Domestic Dolby Noise Reduction

Dolby B was a domestic NR commonly used on cassette recorders. In many ways a simplified version of Dolby A, B was s single-band NR system, boosting high frequencies on record and reducing them on playback. As with Dolby A, B required accurate level & frequency response matching for best results. It had the happy by-product of making B-encoded tapes sound brighter on non Dolby-equipped playback systems

Dolby C and Dolby S were later domestic systems

Professional Dolby hardware

Dolby hardware separates the host and NR card. The host typically provides audio input / outputs (via transformers on the 361), power supplies and remote switching whilst the NR card performs audio functions only

Dolby produced hundreds of card types for audio, film, broadcast & etc. In single- and dual-channel models these fell into two main categories, first- & second-generation models.The noise reduction specification (A, SR, etc) remained constant across hardware generations but cards & hosts are not interchangeable between generations as Dolby changed connector standards

First-generation hardware (supports Cat 22 (A) and Cat 280 (SR) cards)

  • 360 – single-channel interface in 1U
  • 361 – single-channel, updated version of the 360
  • 362 – dual-channel in 1U, electronically balanced, front-panel trims
  • 365 – dual channel in 2U, electronically balanced, front-panel trims

Second-generation hardware (supports Cat 350 (SR), Cat 450 (A) and Cat 300 (SR / A) cards

  • 363 – dual-channel in 1U, supports SR & A

For multitrack systems Dolby produced the ubiquitous M16 (16-channel) rack and the later 8-channel expansion. The M16 used standard Cat 22 cards with separate Cat 44H i/o interface cards. The M16 was superceded by the 24-channel XP24 SR rack

 

More info from Sound on Sound

Reverb

Reverbs & Effects for sale are here

Page under construction


Before there were digital reverbs there were reverb plates, springs, mechanical reverbs  and – of course – reverb chambers

A reverb chamber is a simple idea – take an empty room, fit a speaker and a pair of microphones and create natural reverb. It’s simple in theory, and hard to do in practice, but there were (and are) some great chambers in larger studios

The plate reverbs was invented by EMT in 1957 and used a suspended steel plate with a transducer and a pickup (later, two pickups for “stereo”). The transducer energised the plate and reverberation was created by the sound waves travelling around the plate. Plate reverbs are still in use, and in production, 61 years later

In the late 1970s EMT began research into digital processes to quantify & generate reverberation. This led to the 1976 EMT 250, still one of the most feted reverbs in the world

The other pioneering reverb company at that time was Lexicon in Waltham, Mass. Lexicon and EMT had one thing in common – Dr Barry Blesser, a founder of Lexicon and designer of the 250 for EMT.

EMT had a background in broadcast and high-end audio products whereas Lexicon was a typical high-tech company which grew in the shadow of MIT

 

Reverb Top Ten

  1. Lexicon 480L
  2. Lexicon 224XL
  3. EMT 240
  4. Lexicon 224
  5. EMT 250
  6. AMS RMX16
  7. Lexicon PCM70
  8. EMT 244
  9. Quantec QRS/L

Modifications, Upgrades & Recapping

Modifications

We do a number of modifications including a high-pass filter mod for the Cloud CX335. Email workshop@bn1studio.co.uk for details

Transformers

We can source output transformers for dbx compressors. We can supply dbx 160X or dbx 160XT compressors with the transformer fitted or retrofit a transformer to your dbx. Email workshop@bn1studio.co.uk for details

Recapping

We can recap most pieces of gear. Equipment we’ve recapped to date includes:

 

 

Equalisers

Equalisers for sale are listed here

In theory, equalisation is one of the simplest audio tasks. That doesn’t stop there being thousands of EQs to choose from, using hundreds of different approaches to a couple of of basic topologies

The earliest equalisers were used to flatten the frequency response of fixed telephone lines. They were typically LC (Inductor / Capacitor) equalisers followed by a valve gain make-up stage. They were designed for permanent equalisation and would have a fixed HF boost matched to the line

The advent of equalisation in sound recording and cinema audio playback led to variable equalisers like the legendary Pultec EQP-1A. The development of transistors led to equalisers with more frequency bands and greater flexibility


Cost is a big factor. Cheap EQs can work well but are likely to be limited in flexibility and precision. They are also unlikely to be easy & enjoyable to work with

At the other end of the scale, high-end equalisers like the GML 8200 and Massive Passive offer great flexibility, accuracy & repeatability – at a price

The middle ground is where the price / performance ratio works best. Great affordable, usable EQs include

 

Equaliser Top Ten

  1. GML 8200
  2. Pultec EQP-1A
  3. Massive Passive
  4. Neve 8108 console EQ
  5. Klein & Hummel UE400

Honourable mentions

Shop Update January 2018

Here’s to a successful New Year!

Incoming 2018:

* Empirical Labs Distressor EL8X (pair)
* Empirical Labs Fatso EL7X (stereo)
* MXR Dual Limiter (stereo)
* dbx 160XT (pair) with sequential serial numbers, mint
* dbx 160A (pair) with sequential serial numbers, excellent
* dbx 160X (pair) with output transformers, excellent
* dbx 163X (pair) modified, recapped, rebuilt power supply
* NTP 179-500 Limiters (pair) in NTP 1U rack
* Aphex Dominator cards (pair) for dbx rack, NOS (New Old Stock)
* Valley People Dynamite (stereo) original version in 1U rack, recapped, rebuilt PSU
* SPL Transient Designer (2-channel)
* SPL Transient Designer (4-channel) with XLRs

* UREI 546 Stereo Parametric Equaliser
* UREI 530 Stereo Graphic Equaliser, rebuilt, new slider pots
* UREI 535 Stereo Graphic Equaliser, rebuilt, new slider pots
* White 4100A Stereo 10-Band Equaliser, inductor EQ
* White 4000 Stereo 10-Band Equaliser, inductor EQ

 

 

Shop Update June 2017

Incoming:

On sale now:

In the workshop:

Shop Update May 2017

New arrivals tested, modified, packed & ready to ship:

In the workshop:

Long-term projects

Shop Update March 2017

New arrivals tested, modified, packed & ready to ship:

In the workshop:

Long-term projects

Black Friday Sale

10% off everything in the shop till November 30th. Use the coupon code “blackfriday” in the shopping cart

And, from today, there’s an automatic 4% discount for all orders paid by bank transfer. Avoid  Paypal fees!

black_friday_2

 

 

Leon Theremin

Robert Moog, Roger Linn, Dave Smith, Don Buchla, Tom Oberheim, John Chowning, Leon Theremin, Olga Theremin

Robert Moog, Roger Linn, Dave Smith, Don Buchla, Tom Oberheim, John Chowning, Leon Theremin & Olga Theremin at Stanford University’s centennial celebration, September 1991

Leon Theremin was born on 15th August 1896. In this photo Theremin is surrounded by the most influential synthesiser designers & inventors of the last hundred years

 

Photo © Bob Moog Foundation Archive

OSCAR – Open Source Console for Analogue Recording

A recent idea inspired by the success of the 500-Series format and the continuing popularity of analogue consoles. OSCAR is a an open platform for building analogue consoles, based on buckets of eight channels with simple metalwork and – as far as possible – standard parts

One possible path is to size the bucket so that 500-Series modules can slot right in. They’re 1.5″ wide as standard. Other options include modules 2″ wide (actually 50.8 mm). This fits in with the Eurocard standard

Both 500-Series and Eurocard have a standard 3U (5.25″) module height, but Eurocard also allows for a 6U (10.5″) standard which is a far more usable size for a channel strip

I don’t see 500 modules as the perfect solution. A taller channel strip would allow greater flexibility and reduce cost and allow the format a wider appeal

Metalwork represents a sizeable proportion of the total cost of a console but it’s possibly the most difficult thing for DIY builders to create. Constructing a console out of standard parts, each built to close tolerances and with a good finish, would leave the DIY builder free to concentrate on electronics

There’s a thread running about the idea over on the Group DIY Forum

http://groupdiy.com/index.php?topic=63172.0

 

First sketch of OSCAR

modular_console_1

First sketch of metalwork ideas

modular_console_2

 

 

Links

http://groupdiy.com/index.php?topic=63172.0

http://www.radialeng.com/500series-standards.php

http://www.emusician.com/gear/1332/roundup–api-500-series-chassis/45767

http://51xaudio.com/alliance/index.html