Sunday, August 02, 2009
Tokyo Lick
YouTube via jeffreystolet. via Devient Synth.
"music composed and performed by Jeffrey Stolet using custom software and infrared sensors"
"New Electro-Acoustic Technologies and Changing Human/ Music Interfaces
With Jeffrey Stolet
Philip H. Knight Professor of Music
Director of Intermedia Music Technology
University of Oregon School of Music
Simple Input, Complex Output: Performance and Data mapping in Tokyo Lick.
Challenges regarding the conceptual design and implementation of human / music
instrument interfaces have a rich and nuanced history. Generally, if a musical instrument
has thrived it has been due to the fact that the particular instrument could provide the
desired musical outcome. Traditional instruments typically display a simple one-to-one
relationship in terms of input and output (e.g., one piano key is depressed, one note is
sounded). Current technologies release us from the shackles of such one-to-one input-
output models and permit to the creation of new types of musical generation. At the
University of Oregon we have been involved with projects where musical robots perform
music, where eye movement data control sound and video, and where infrared sensing
devices control sonic and video events.
In his program, Mr. Stolet will focus on the technology and the human-performance
elements in Tokyo Lick, his composition for infrared sensors, custom interactive software,
and MIDI piano. He performs Tokyo Lick by moving his hands through two invisible
infrared spheres and directing the data derived from those motions to algorithms residing in
customized interactive software created in the Max multimedia programming environment.
Tokyo Lick contains no sequences or pre-recorded material. Mr. Stolet will perform every
note in real-time. Using a technology he refers to as “algorithm flipping,” he can rapidly
change the specific algorithm or algorithms governing the response to the incoming MIDI
control data. He actuates the algorithmic changes through pre-composed schedules, musical
contexts, or through explicit intervention. Taken together, these techniques provide a
conceptual framework for practical input/output mapping (action → specified outcome) and
for control and performance flexibility, while offering a truly new paradigm for virtuoso
music performance.
Biography:
Jeffrey Stolet is a Philip H. Knight Professor of Music and Director of Intermedia Music
Technology at the University of Oregon School of Music. Stolet's work has been presented
in America, Europe, Japan and Australia, and is available on the Newport Classic and
Cambria labels. At the University of Oregon, Stolet has also developed the curricula for a
Bachelor of Science in Music Technology degree, a Master of Music in Intermedia Music
Technology, and the curriculum for Intermedia Music Technology as a Secondary Area for
music students pursuing doctoral degrees"
VEX "It Could Be Sunshine" Love and Rockets tribute
VEX "It Could Be Sunshine" Love and Rockets tribute from Hunter Senftner on Vimeo.
Moog Minimoog. Borderline NSFW. via Amateur Chemist "VEX covering Love and Rockets "It Could Be Sunshine", from the tribute album "New Tales to Tell". Featuring Natalia Jovovich, Paul Ill (Courtney Love), and Kellii Scott (Veruca Salt, Failure). Shot at Linda Perry's legendary Kung Fu Gardens recording studio. Directed by Hunter Senftner of Primitive Groove productions."
hex oscillator in a sunbeam
YouTube via danielfiction
"this video shows some of the longer evolving drones the hex oscillator shine thing can make. in a patch of sunlight, this instrument makes thick textures which slowly mutate as the light of day passes."
Joy Division Pulsar cp1919 in Alchemy
You might remember this post on Joy Division's Unknown Pleasures album cover. Gsynth was curious what it might sound like as a wavetable you could import and scan through on the Waldorf Blofeld. Well, noiseconformist decided to see what it would sound like imported into Camel Audio's Alchemy. It's actually pretty interesting and does sound like a wavetable. You can hear and read about it here. Comments disabled here to keep them there.
Everything You Always Wanted to Hear on the Moog
via Tomclick on the images for the full size shots. Note the reference to Moog rhyming with Rogue in the last paragraph on the left column in the bottom shot.
BTW, check out Tom's website for some amazing (non synth) photography.
Update: in case you tried to contact Tom at his website, he realized his contact form wasn't working. You can reach him directly at tomast3 at me.com instead.
Yellow OMEGA 8 Demo
"Analog, Synth, Studio Electronics
http://cl516.blogspot.com. CL516 Edition - Yellow on yellow Studio Electronics Omega 8.
Release date: Aug 3, 2009"
Update: cl516 post here
MATRIXSYNTH-C
This is just a reminder to check out MATRIXSYNTH-C. There are some good posts going up.
Yamaha FS1R Formant Shaping FM Synthesizer
via this auction. If you are considering an FS1R be sure to get the free editor in the update to this post."For an in depth look see this review"
And of course search for FS1R here on MATRIXSYNTH for more including videos.
KORG DELTA ANALOG SYNTHESIZER
via this auction. Note this is the one featured in this video posted earlier."INTRODUCTION
- Fully polyphonic. Uses divider circuitry similar to organs to accomplish this.
- A synthesizer AND string ensemble in one!
- Selectable Lowpass/Bandpass resonant filter
- Synthesizer section has 4 octaves PLUS noise that can be mixed-in simultaneously using faders.
- Separate outputs for high and low output, separate synthesizer and string outputs, and a headphone output.
- Joystick with selectable pitch-bend and filter vibrato effects.- Equalizer for boosting/cutting high and low frequencies."
Octave The CAT -Mono / Duophonic Analog Synthesizer
via this auction"Specifications
* Polyphony - Mono/Duo-phonic
* Oscillators - 2 VCO's (2 sawtooth, 2 square wave, and 1 triangle) plus 2 sub-oscillators
* LFO - 1 with sample-and-hold
* Filter - 1
* VCA - 1 VCA, 2 EGs- AR and ASDR
* Keyboard - 37 keys
* Memory - None
* Date Produced - 1976"
Korg Delta
YouTube via thegarranimal
"This is a quick demo of the Korg Delta from the late 70's featuring BOTH a synthesizer section and a string ensemble section. Just showing the functions are in working order, no noisy pots or sliders, and the kinds of interesting old analog sounds this machine can make."
Korg DW-8000 quick sound demo
YouTube via thegarranimal
"This is the Korg DW-8000 analog/digital hybrid synthesizer up for sale on Ebay. Just a quick demo showing the kinds of sounds it can make. It can sound like a Memorymoog, Juno-106, Oberheim....all kinds of things. It can also make all sorts of weird digital sounds but I didn't create any patches of those."
J. S. Bach on synth - Gavotte from Orchestral Suite no. 4 in D
YouTube via syntesen
"Yet another "switched-on bach" project in the style of Wendy Carlos. This time, a wonderful dance from the fourth Orchestral Suite, the Gavotte.
In 4/4 time, but with the emphasis on the 3rd beat of the measure, rather than the 1st, the Gavotte was a royal court favourite in the francophile countries of the Baroque period.
This piece marks the beginning of my "Soft Synth Odyssey", realizing different tracks with different software synthesizers. To start out on familiar ground, this track was realized with the Arturia Moog Modular V2 emulation synthesizer, recorded in Ableton Live.
I hope you enjoy it.
-David"
yr4wk6 moog & voice
yr4wk6 moog & voice from longcat on Vimeo.
"loving that moog logo x" via longcat on the forum. Moog Opus 3
Scott Stites/Buchla 291 adaptation
Nice brass faceplate via photon in this electro-music.com threadClick on the steampunk label below for more.
Metasonix TM-2 Tube Dual Bandpass Filter + VCA
via this auction"Metasonix TM-2 Vacuum-Tube Dual Bandpass Filter plus VCA - Serial #3! It is an agressive filter with some wonderful tube non-linearities."
Vintage Synth Scans via Tim Stinchcombe
ARP 2500 pictured. You can find the full size scan for this and more at Tim Stinchcombe's site. You'll find Moog and EMS as well.Update via alt-mode on AH who owned and sold a 2500: "The modules are labeled so you know which column corresponds to the input/output. Yes, there is a small gap between the module and the matrix but it usually isn't a problem, provide you don't need to get out your bifocals (more on that later). There also tends to be similarity between modules and the inputs used. Most of the oscillators have VC inputs on columns 1, 2, & 3 in the upper matrix. There is also a color-coding scheme for the slider caps that, if you have the right caps on the sliders for your modules, helps make things clearer but you need to move the caps around anytime you rearrange modules and some of the colors are impossible to find these days.
The upper matrix tends to be for keyboard CV and Gate signals and you are correct that the jacks on either side allow access to a particular row of the matrix so you can patch between the upper and lower matrices as well as external gear.
Each row is like a giant multiple. You can send one output to many inputs from the same row. You also need to dedicate a row or two of the lower matrix to audio outputs.
To patch between modules, you select the column of your output on the module, slide the matrix lever for that column down to an unused row and slide the matrix lever for the input of the destination module to the same row. So, in some sense you are limited to 20 "patch cords" in the lower matrix.
The middle few rows of each matrix are not connected to anything so it is the place where you leave disconnected inputs and outputs until you need them.
The fun of a 2500 is that you can have lots of "happy accidents" as you move the sliders since you can end up influencing other modules or finding unintended modulation sources. The downside is that you can get some crosstalk between the rows of the matrix but I never had too much of a problem with that.
My frustration with the 2500 was that I had to squint a lot (or find my glasses) to line things up on the matrix. It depends on how you have the synth set up but you really want those matrix switches nearly level with your eyes so you can see exactly which row you are using."
Rare Polyfusion Modular - Moog Format
via this auction
via http://alt-mode.com/
Formant Filter
"The serial number on this module is 7505.
The Variable Formant Filter has 3 bands of variable width, frequency, and level for sculpting sounds. The module works great and has seen light use over the past 6 years in a smoke-free home studio.
This module was originally housed in a wooden box with a simple power supply. I had Synthesis Technology MOTM power connectors added for use in my system but it can easily be switched for any +/-15V supply.
These modules were part of Martin Newcomb's Museum of Synthesizer Technology in the 1990s. They are shown on page 78 of his wonderful book on the museum and can be seen in the following You-Tube video at around 2:00. This is an opportunity to own a truly unique part of synthesizer history!" [see this post for the video. see Part 1]
Dual Ring Modulator
"This is an extremely rare Polyfusion Modular Dual Ring Modulator module from 1975. When Polyfusion started, they made these modules to fit into a Moog modular system before they had developed their own format. This module, along with the other ones I'm auctioning off, are likely the only modules of this type known to exist! The serial number on this module is 7503.
The Ring Modulator consists of two circuits that multiply the X and Y inputs together, producing a tone that is the sum and difference of the two inputs. The module works great and has seen light use over the past 6 years in a smoke-free home studio.
This module was originally housed in a wooden box with a simple power supply. I had Synthesis Technology MOTM power connectors added for use in my system but it can easily be switched for any +/-15V supply."
Dual Sample-Hold
"The serial number on this module is 7506.
The Dual Sample-Hold consists of two sample & hold circuits that will retain the incoming voltage whenever the manual trigger button is pushed or the clock input goes high. Along with the sampled output voltage, the module outputs a Moog S-Trigger signal making it a quick V-trig to S-trig converter. The scale knob sets the range of the output with respect to the signal input. The module works great and has seen light use over the past 6 years in a smoke-free home studio."
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MATRIXSYNTH - EVERYTHING SYNTH
© Matrixsynth - All posts are presented here for informative, historical and educative purposes as applicable within fair use.
MATRIXSYNTH is supported by affiliate links that use cookies to track clickthroughs and sales. See the privacy policy for details.
MATRIXSYNTH - EVERYTHING SYNTH
