"The Discombobulator - a Noisebug-designed Tangible Waves system in the AE Modular format, a great entry to the format and an even better addition to an existing AE Modular rig.
"GreyScale 'Phase 2' In addition to recording the evolved operation of the central generative sequencer, KOSMOS, this video also features the behavior and interaction of Hikari Instruments Duos and the Sequential PolySequencer. Relive the development process of this generative sequencer, which moves as if it "sings" on its own, through logs from the actual instrument and performance footage. KOSMOS's phrase generation algorithm, tempo fluctuations, and the nuances of rising singing. The unique interaction of Duos. The structural movement of the PolySequencer. Each individuality is connected as a single flow within the GreyScale worldview. DIY synths, generative music. Phase 2 is an archive that records the behind-the-scenes creation and the moment when an instrument grows. ---- GreyScale 「Phase2」 中心となる Generative Sequencer KOSMOS の進化した動作記録に加え、 Hikari Instruments Duos、Sequential PolySequencer の挙動や連携の様子を収録。 ハードウェア単体で“歌う”ように動くジェネレーティブ・シーケンサーの開発過程を、 実機のログとパフォーマンス映像で追体験できます。 KOSMOS のフレーズ生成アルゴリズム、テンポ揺らぎ、上昇歌い上げのニュアンス。 Duos の独特なインタラクション。 PolySequencer の構造的な動き。 それぞれの個性が、GreyScale の世界観の中でひとつの流れとしてつながっていきます。 DIY シンセ、ジェネレーティブ音楽、Phase2 は、創作の裏側と“楽器が育っていく瞬間”を記録したアーカイブです。"
"Out now for Cherry Audio’s Voltage Modular Software - the WC-46 Sequential Voltage Source. Loosely based on the Buchla 246, it’s a 16-step x 4 row voltage sequencer, with some unique features that make it easy to use and fun to improvise on!
Included in the West Coat Bundle - if you already own this, it’s free!
Get it here, on it’s own, or as part of the West Coast Bundle
"Can you make a decent sounding pattern on the Digitakt II with only Oscillators and Noise only? In this video, we dive deep into the factory utilities on the Elektron Digitakt 2 to see just how far the internal engine can be pushed. All sounds (drums, chords, leads etc.) will be made using fun and clever sampler techniques."
Synth engine:
Wavetable engine.
Sampler: WAV files on SD card 44100Hz, 16 Bit, Mono
16 sound polyphony.
A track can be sampler or synth
Multi OSC feature..
Sequencer:
16 step/pattern editor and random generators (pattern, sound parameters and notes)
16 memories (each 16 patterns of 16 tracks)
"This time we're diving deep - perhaps too deep - into the mysteries of the Phase-Locked Loop, which Doepfer improbably made a Eurorack module for. So if you want to learn what that loop is and why you'd want to lock it, this is for you. All four of you.
No AI content, though I do use it for research.
Timeline:
00:00 - Intro
01:42 - What PLLs do
03:05 - How they do it
08:47 - How the 'over the radio' effect works
10:51 - Building a PLL out of spare parts
13:31 - PLL as a frequency multiplier
19:36 - Lots of stuff to try
"Apologies for the long absence, but I'm back - this time with a patch I've been trying to make work for years: the effect of audio coming over the radio.
It was a complete surprise that this worked, I was just playing around with a phase-locked loop module. I didn't think this would end up being a video about FM at all, but when I stumbled on it, I had to share.
Modules in use: Antumbra Fade, Radio Music, Cap'n Big-O VCO, Doepfer A-196 PLL, Steady State Fate's Quantum Rainbow 2, and Void Modular Hexagram.
If you'd like to hear more of the background music, I released in in 2025 on the NEUS-318 label, and you can find it here: https://neus318.bandcamp.com/album/he..."
Modules used in this patch:
Soundfreak Triple Oscillator
MEMS: 266, 292c
Mike Peake Custom 190 Dual Reverb
EMS: 277, 207, 281, 256, 257, 246
Source of Uncertainty 219
Recorded live - Cheers to music and sonic exploration! Thank you, Adam Scramstad
Her life journey has been remarkable. At the end of the fifties, she studied in Paris with musique concrète pioneers Pierre Schaeffer and Pierre Henry, whom she also assisted, notably for the premiere of L'Apocalypse de Jean. During the sixties she began composing with primitive electronics (feedback and asynchronous tape loops), but found little recognition for her research in France.
In New York in the early seventies, she found understanding and emulation, exploring emerging minimalism with James Tenney, Charlemagne Palestine, Phillip Glass, John Gibson, and Steve Reich. Her absolute allegiance to electronic sounds began during this period. Since then she has composed on the best synthesizers of the time: Buchla, Moog, Serge, and then ARP, which would become her fetish instrument. She collaborated with Robert Ashley, who sang on Les Chants de Milarepa. She has composed about two dozen works, which she has presented and continues to present at numerous prestigious venues and festivals in the United States and Europe.
In 2004, upon Kasper Toeplitz´s request, she started instrumental compositions for one or more performers, with whom she works in a close collaboration during the compositional process. This work gets quickly focused on pure acoustic sounds, in an incredibly delicate timbral way, which extends, without aesthetic rupture, her electronic work. Notably between 2004 and 2009, she completed a cycle in three parts 'Naldjorlak', for Charles Curtis on cello, Carol Robinson and Bruno Martinez on basset horns. She has now stopped her electronic work."
Emmanuel Holterbach (Translation Leslie Stuck)"
The following is a collection of some of her works:
"In Buddhism, the number 9 signifies spiritual completion, ultimate enlightenment, and the highest level of consciousness (the ninth consciousness, or Buddha nature). It represents the culmination of the path to Nirvana, the 9 virtues of the Buddha, and is often associated with auspiciousness, progress, and the 9 states of delusion (nine worlds)."
Some history on Eliane Radigue via Wikipidia:
"Radigue was born in a modest family of merchants and raised in Paris at Les Halles.[5] She later married the French-born American artist Arman with whom she lived in Nice while raising their three children, before returning to Paris in 1967. She had studied piano and was already composing before hearing a broadcast by the founder of musique concrète Pierre Schaeffer. She soon met him, and in the early '50s became his student, working periodically at the Studio d'Essai during visits to Paris. In the early 1960s, she was assistant to Pierre Henry, creating some of the sounds which appeared in his works.[6] As her own work matured, Schaeffer and Henry felt that her use of microphone feedback and long tape loops (as heard in Vice-Versa and Feedback Works 1969-1970) was moving away from their ideals, though her practice was still related to their methods.
Radigue's death was announced on February 24, 2026. Her cause of death was not stated.[7][8]
"I had a crappy day at work and I saw the stars in the sky for the first time this evening, in who know's how long, so I was kinda inspired by a road trip into space.
Hope you enjoy the journey 😎
Gear used:
Music:
Teenage Engineering OP-XY
Dreadbox Artemis
Video:
Fujifilm X-M5
Motu M2 Audio interface
Mac Studio with Logic Pro X"
"What another great weekend at Synth East in Norwich. With documentary showings, live talks, the worldwide legendary patch offs, performances, loads of fine makers of music making gear, modular, synths leading into performances and plenty more. Thanks to all that made it a great event. Enjoy a look back at Synth East 2026 and with a look around for those that couldn't make it."
*TIMING INDEX // CHAPTERS // LINKS*
00:00 Travel & synth hating railway services
00:41 Friday evening, arts centre, documentary & podcast recording
