Note: Auction links are affiliate links for which the site may be compensated.
via this auction
Never seen one of these before. Apparently it was DAW for Atari. Via Sound on Sound:
"Their most ambitious product -- the 1989-vintage ADAP digital audio workstation for Atari -- was somewhat ahead of its time. For sequencing, the company produced a family that included Edit Track and SMPTE Track; v7.1 of the former is now available for download. In addition, a pair of 'beta' versions are available which upgrade copies of SMPTE Track for those with the matching hardware SMPTE sync box. Most of the note-manipulation power that you get with Cubase or Notator SL is available with Edit Track in some way, though many users prefer HA's interface. It does have one or two tricks that its higher-profile competition doesn't, moreover. For example, Edit Track is always in record, so even if you're just noodling, you can press an on-screen button at any time and print the results to a track. Also, an on-screen virtual joystick lets you manipulate a range of MIDI controller data with your mouse..."
There's also some info on Tim's Atari MIDI World. Fascinating bit of synth history.
Note this is the first post to get the Hybrid Arts label, however you'll find a few mentions in previous posts.
Showing posts sorted by relevance for query Hybrid Arts. Sort by date Show all posts
Showing posts sorted by relevance for query Hybrid Arts. Sort by date Show all posts
Thursday, January 16, 2014
Friday, April 14, 2023
German Rackmount Yamaha TG77, TG33, CPX, Synthax RACKWare RG 124 & Kawai MAV-8
via this auction
This one was spotted and sent in via M Me.
Interesting rig. You'll find a picture of the back below with the TG33. This is the first post to feature the Hybrid Arts CPX computer module. Hybrid Arts also made the ADAP SOUNDTRACK SAMPLER ADAP-1. If anyone has any info on the CPX, feel to leave a comment. Curious if it's simply a computer with an editor for the TG77 and TG33, or it's own synth/sample playback module. Take a look at the back below. The Synthax RACKWare RG 124 appears to be the monitor for the system, and the Kawai MAV-8 is a midi patchbay.
It's interesting to see the TG77 and TG33 in a different enclosure.
Thursday, January 01, 2015
Happy New Year From MATRIXSYNTH! - A Look Back at 2014
Happy New Year everyone!
I want to start by thanking everyone that comes to MATRIXSYNTH and helps make it what it is - the readers, the supporters, and of course all the sponsors on the right.
THANK YOU and have a GREAT 2015!!!
This site is a labor of love and a ton of work. This site is ultimately meant to be an testament to everything synth in the making. We have over nine years of daily synth history captured here, 119,983 published posts. I can't wait to see what the future brings us in 2015!
That said, here are a few interesting bits from 2014 in the longest post of the year. ;)
Wednesday, December 12, 2012
Synth Talk with Richard Burgess of Landscape
LANDSCAPE: 'European Man'
Uploaded on Jan 19, 2008
Landscape's 'European Man', featuring Barbie Wilde.
Pea Hicks who runs Optigan.com and the MC-8 blog, has a great post up on Richard Burgess and the use of the Roland MC-8 Micro-Composer. The following are a couple of excerpts and videos for reference. Along with synth talk there are some interesting historical bits on the time including the origin of the New Romantic label and scene. Richard Burgess worked with Rusty Egan who in turn was in Visage, a band consisting of him Billy Currie and Midge Ure of Ultravox, John McGeoch of Magazine, Siouxsie & PIL (Johnny Rotten of The Sex Pistols), and others. Lot's of cross collaboration at the time. If interested you can start with Visage on wikipedia and click through the names. The post-punk New Romantic followed by New Wave movement brought synthesis to many. In Pea Hicks' interview you'll find a great audio snip with some geeky synth talk on setting values for the MC-8 - this is in an actual track.
"Pea: I’m sure to you it probably seems like a head-scratcher why anyone in this day and age would voluntarily subject himself to the hassles of dealing with ancient sync dilemmas, but for me that’s part of the fun and also it’s a way of working that inevitably produces some idiosyncratic results that you wouldn’t get by doing things the “easy way.” I’m definitely after that metronomic Human League type groove.
Richard: I think the machine definitely influences the result so I don’t see it as odd to want to use the MC8. I have thought about it myself.The same thing applies to analogue sequencers. Like I said, we synched the MC8 to the CR78 by programming a square wave to come out of the mulitplex outputs and then we adjusted the level through a console until it ran the CR78. Most of those old drum machines run on simple square waves with no flags. Getting them to run in the same time is less of a problem than getting them to start at the right time. I used the MC8 in preference to later machines because of the timing. I found early Cubase to be shaky (it’s fine now) and SMPTE Track from Hybrid Arts was very sensitive to processor load. I always liked the timing of the Linn 9000 and I still have mine. I don’t know about the DMX but the 808 should lock tight – it’s only one machine later than the CR78 if I recall correctly."
And on Shock's Angel Face:
"Richard: Oh yes, that was all me. Rusty Egan brought the group and the song and I programmed everything in my home studio and recorded it at Mayfair Studios in South Moulton St. with John Hudson engineering. It was the System 100Ms with the 10x gate modification on the bass line for sure. I did all their recordings and I wrote the rest of the songs with various members and Rusty."
Shock - ANGEL FACE - Shock
Uploaded on Jan 19, 2008
Landscape's 'European Man', featuring Barbie Wilde.
Pea Hicks who runs Optigan.com and the MC-8 blog, has a great post up on Richard Burgess and the use of the Roland MC-8 Micro-Composer. The following are a couple of excerpts and videos for reference. Along with synth talk there are some interesting historical bits on the time including the origin of the New Romantic label and scene. Richard Burgess worked with Rusty Egan who in turn was in Visage, a band consisting of him Billy Currie and Midge Ure of Ultravox, John McGeoch of Magazine, Siouxsie & PIL (Johnny Rotten of The Sex Pistols), and others. Lot's of cross collaboration at the time. If interested you can start with Visage on wikipedia and click through the names. The post-punk New Romantic followed by New Wave movement brought synthesis to many. In Pea Hicks' interview you'll find a great audio snip with some geeky synth talk on setting values for the MC-8 - this is in an actual track.
"Pea: I’m sure to you it probably seems like a head-scratcher why anyone in this day and age would voluntarily subject himself to the hassles of dealing with ancient sync dilemmas, but for me that’s part of the fun and also it’s a way of working that inevitably produces some idiosyncratic results that you wouldn’t get by doing things the “easy way.” I’m definitely after that metronomic Human League type groove.
Richard: I think the machine definitely influences the result so I don’t see it as odd to want to use the MC8. I have thought about it myself.The same thing applies to analogue sequencers. Like I said, we synched the MC8 to the CR78 by programming a square wave to come out of the mulitplex outputs and then we adjusted the level through a console until it ran the CR78. Most of those old drum machines run on simple square waves with no flags. Getting them to run in the same time is less of a problem than getting them to start at the right time. I used the MC8 in preference to later machines because of the timing. I found early Cubase to be shaky (it’s fine now) and SMPTE Track from Hybrid Arts was very sensitive to processor load. I always liked the timing of the Linn 9000 and I still have mine. I don’t know about the DMX but the 808 should lock tight – it’s only one machine later than the CR78 if I recall correctly."
And on Shock's Angel Face:
"Richard: Oh yes, that was all me. Rusty Egan brought the group and the song and I programmed everything in my home studio and recorded it at Mayfair Studios in South Moulton St. with John Hudson engineering. It was the System 100Ms with the 10x gate modification on the bass line for sure. I did all their recordings and I wrote the rest of the songs with various members and Rusty."
Shock - ANGEL FACE - Shock
Thursday, February 10, 2011
computer chronicles - midimusic 1986 - 1992
Computer Chronicles midi music 01
"TheCyberbedouin | January 24, 2011 | 0 likes, 0 dislikes
MIDI Music
Computers and music, MIDI machines and interfaces,
and music composition software.Guests: Chris French,
Music Software; Bob Moore,
Hybrid Arts; David Schwartz,
Compusonics; Chris Potter,
Mimetics; Curtis Sasaki,
Apple; Gary Kildall,
Digital Research; Gary Leuenberger,
Midi RevolutionProducts/Demos: Casio SK-1 Synthesizer,
Atari ST, Activision's Music Studio, ADAP Sampler, DSP-1000,
Apple II GS, Ensoniq Sound Chip, Soundscape,
Commodore AmigaEZ Track, Kidnotes
Episode year: 1986"
Computer Chronicles midi music 02
"TheCyberbedouin | January 24, 2011 | 0 likes, 0 dislikes
MIDI Music
Computers and music, MIDI machines and interfaces,
and music composition software.Guests: Chris French,
Music Software; Bob Moore,
Hybrid Arts; David Schwartz,
Compusonics; Chris Potter,
Mimetics; Curtis Sasaki,
Apple; Gary Kildall,
Digital Research; Gary Leuenberger,
Midi RevolutionProducts/Demos: Casio SK-1 Synthesizer,
Atari ST, Activision's Music Studio, ADAP Sampler, DSP-1000,
Apple II GS, Ensoniq Sound Chip, Soundscape,
Commodore AmigaEZ Track, Kidnotes
Episode year: 1986"
Computer Chronicles midi music 02
LABELS/MORE:
Atari,
Ensoniq,
Featured,
Interviews,
Passport Designs,
Soft Synths,
Synth TV and Film,
Video,
Yamaha
Tuesday, January 03, 2006
MIDI Music - 1986
Click here for an episode of Computer Chronicles from 1986 on MIDI Music. Amazing how far we have come. $100 for a singe CD-R. : ) Links to video stream on on the left pane when you get there. Via this post on VSE.

Computers and music, MIDI machines and interfaces, and music composition software.
Guests: Chris French, Music Software; Bob Moore, Hybrid Arts; David Schwartz, Compusonics; Chris Potter, Mimetics; Curtis Sasaki, Apple; Gary Kildall, Digital Research; Gary Leuenberger, Midi Revolution
Products/Demos: Casio SK-1 Synthesizer, Atari ST, Activision's Music Studio, ADAP Sampler, DSP-1000, Apple II GS, Ensoniq Sound Chip, Soundscape, Commodore AmigaEZ Track, Kidnotes

Computers and music, MIDI machines and interfaces, and music composition software.
Guests: Chris French, Music Software; Bob Moore, Hybrid Arts; David Schwartz, Compusonics; Chris Potter, Mimetics; Curtis Sasaki, Apple; Gary Kildall, Digital Research; Gary Leuenberger, Midi Revolution
Products/Demos: Casio SK-1 Synthesizer, Atari ST, Activision's Music Studio, ADAP Sampler, DSP-1000, Apple II GS, Ensoniq Sound Chip, Soundscape, Commodore AmigaEZ Track, Kidnotes
Thursday, February 23, 2012
Folktek Arts Time Scape Sequencer/Garden Hybrid

via Folktek Arts
"A Hybrid remix work built on co-mission by Arius Blaze - taking elements of the time scape (with patchable keys of a time machine), sequencer synchable to the time scape, and a micro garden sized panel routed through the circuitry of a luminist (delay to wave reverb). A world of possibility and sweet sound generation built into a custom hardwood box."


Tuesday, July 06, 2010
xavier van wersch @ simultan festival 2007
xavier van wersch @ simultan festival 2007 from simultanfestival on Vimeo.
"Xavier van Wersch (NL 1976) obtained a degree in Sonology at the Royal Conservatory in The Hague after having studied visual arts and philosophy. His work reflects an organical approach to the field of electronic music. In his compositions, performances and installations there is always an element of controlled chaos. He explores the relation between man and machine by conceiving the two of them together as hybrid systems in which erratic behaviour is the principal condition for interaction. Another common theme in his work is recycling. Like a modern Frankenstein, van Wersch constructs his machinery from parts of deceased equipment and disfunctional devices.
To balance his usually rather noisy live performances, van Wersch produces more beat-oriented tracks under the alias 'xaf'. As a sound designer he worked with a.o. Nederlands Dans Theater, Icelandic National Ballet / Maska Ljubljana, the Poni Collective and Ivana Müller. He is the director and founder of re.Bug, an organisation that supports and develops projects in which art, technology and ecology meet. After a 4 year stay in Belgium, van Wersch now lives in Hungary. He has been invited to teach at Novus School of Arts in Budapest and is currently setting up a studio in the school.
xaflab.tk"
via sendling
Teisco 100f synthesizer and more.
Sunday, February 28, 2021
Tatsuya Takahashi's Powers of Ten - a synthematic journey
video by Catalyst Berlin
"Sit back and enjoy the video from Tatsuya Takahashi's presentation at the 2020 Most Wanted: Music hybrid music industry festival. A journey into the depths of some of Tatsuya's instrument design highlights, including the Minilogue, Monologue, Volca, Triggers and the Granular Convolver.
You can watch the full presentation with KORG Germany's CEO and star designer here:"
MW:M20 | Music Instrument Design for the Powers of Ten - Tatsuya Takahashi
video by Most Wanted: Music
"Most Wanted: Music - The Hybrid Music Conference - enables practical know-how transfer, enhanced networking, idea exchange and delivers new perspectives and business models for the music industry. https://mwm-berlin.de/
Session: Music Instrument Design for the Powers of Ten
Speaker: Tatsuya Takahashi
Video presentation: Catalyst - Institute for Creative Arts and Technology
We are delighted to welcome Tatsuya Takahashi of KORG. Here’s what he had to say about the session- "Making a living from designing musical instruments is a funny business. On one hand they are commercial products. On the other, they are forms of expression. I'll be navigating my experience of grappling with this duality through how many times each project is manufactured - in powers of ten. From the big hit volcas to the personal projects that are painfully close to my soul, each project has a different story to tell, but there's also a continuum that runs through them all."
Wednesday, February 26, 2014
New Xen-Arts Xen-FMTS 2
via Xen-Arts where you'll find the download and some audio demos.
"An FM Synthesis VSTi for the Creation of Microtonal and Xenharmonic Music
Xen-FMTS 2 is a 4 Operator FM Synthesis VSTi with a specialized set of features for computer musicians interested in exploring the vast expressive possibilities of making music with alternative intonation systems. It is a freeware 32-bit plugin instrument for Windows that includes 115 patches, 55 microtunings and 56 partials files.
Microtuning Features
Internally loads and externally receives both MTS (MIDI Tuning Standard) Bulk Dump and Single Note Microtuning Files
Operator ratios can easily be set to values that are coincident with the microtuning being used, thereby producing intonation related sidebands in the timbre of the instrument
Microtonal pitch-bend ranges may be configured in cents, harmonics and superparticular ratios
Arbitrary microtonal pitch shifting makes it possible to easily pitch transpose the oscillators in both octave and non-octave increments
FM-RM Oscillator
4 Operator FM Synthesis with Ring-Modulation
57 Operator Algorithms
11 different Operator Waveforms
Analog Pitch Drift Emulator
Transposition by cents offsets
Partials text files may be used to quantize the frequency ratios of the operators to user specified values
Velocity-to-Harmonics Modulation enables oscillators to dynamically sound harmonics of the fundamental pitch
Modulators
Seven dedicated hybrid modulators for Operators A, B, C, D, Filters, Amplifier and Pitch
Each modulator includes an ADSR style envelope generator, and an LFO which can be switched to run at audio-rate
Each ADSR Envelope Generator features Per-Stage Keyboard Tracking
LFOs can either be synchronized to the host DAW tempo or set in Hertz. They include 24 Waveforms, a Slewer and can be switched to run at audio-rate
Filter Section
Pre-Filter Saturation Stage with 20 Saturation Types
Two Independent Filters with Six Filter Types: LP4, LP2, HPF, BPF, BRF, APF
One and Two Stage Filter Cascade
Performance Control
Full controller MIDI Pitch Microtuning with MTS (MIDI Tuning Standard)
MTS Support for both Single Note and Bulk Dump
Loads MTS Microtuning Format Files Internally and Receives MTS Externally
Local (Per-Patch) and Global Microtuning (Static Microtuning for All Patches)
Microtunings can be loaded from any directory on hard drives or storage devices connected to the PC
12 Note Polyphonic
Monophonic Legato Mode
Monophonic Portamento
Microtonal Pitch Bend
Vibrato
Effects include Chorus, Lowpass Filter Cascade (Warm Filter) with 6 dB to 48 dB per-octave filters and Stereo Ensemble"
Friday, March 11, 2016
NYZ DRN4 DECLASSIFIED
Exclusive mix on SoundCloud:
Tracklist:
1. NYZ_FMMGKSQ_43t
2. ISR_16x16_WCM
3. CSN [excerpt 2 mono]
4. SWI_r170_16x32x32_B
5. SWI_FM1#16
6. NYZ-1_1#08_A [finite downsized]
7.CSN1 [excerpt 1 mono]
Be sure to see the MATRIXSYNTH exclusive further below!
FM EXPLORATIONS AND MICROTONAL DRONES FROM NYZ (AKA DAVE NOYZE, DAVID BURRASTON, NOYZELAB, BRYEN TELKO)
This is the first release by NYZ and is a superb musical collection of research areas classified to internal Noyzelab operations. Not even .MEDS label were informed of the secret processes underlying its creation, excepting that we know it involved Frequency Modulation (FM) synthesis! We have not been given any information regarding when this work was recorded, but we suspect the material spans at least a decade of David's FM algorithm research on numerous synthesizers, as well his own custom built ear deceiving gear...
According to one reviewer of David's previous musical output he "gleefully disrupts just about every standard convention of musical form you could think of, including those of so-called experimental musics."
Other reviewers have written that :
"His music is a bizarre, yet compelling journey investigating the outer realms of music generated on ancient & contemporary machines." "It's strikingly original audio that doesn't really sound like anything else I can think of." "Utterly sublime. So there you go, a life-affirming slab of mind-altering sound to reawaken you to the terrifying possibilities of creation."
"absolutely wreaks havoc" wrote Keith Fullerton Whitman on reviewing David's last release T. H. Cycle cassette on Important Records/Cassauna .
Cassette releases April 1, 2016
All Audio by David Burraston
Design Tom Knapp
----
MATRIXSYNTH recently asked NYZ why he put together this new album of FM synthesis based explorations, and whether he would discuss some of the process behind it. The declassified information below has been put together by NYZ especially for a MATRIXSYNTH exclusive.
***BEGIN NYZ DRN4 DECLASSIFICATION REPORT***
DC REPORT STATUS: PARTIAL DECLASSIFICATION ONLY
PARTIAL DC STATUS: INCOMPLETE CELLULAR BINARY SPACETIME
PARTIAL DC LEVEL: SEMI-PICTORIAL_TEXTUAL_HIGHLIGHTS
FUTURE DC STATUS: _PENDING
The main reasons for making this album were an interest in FM synthesis in both analogue modular and MIDI/digital mediums. I had worked with digital FM synthesis since getting a Yamaha TX81Z when they came out back in 1987 (which I still have, along with another backup machine with a very hummy mains transformer which bleeds onto the outs). How me and another synth friend used to cry with drunken laughter at preset D11 Hole in 1... :) But after initially wondering whether I had just wasted about 350 UK pounds on an utter piece of shit... I quickly warmed to its better presets, and its very different approach to synthesis yielded enough interesting results early on for it not to get outed.
Tracklist:
1. NYZ_FMMGKSQ_43t
2. ISR_16x16_WCM
3. CSN [excerpt 2 mono]
4. SWI_r170_16x32x32_B
5. SWI_FM1#16
6. NYZ-1_1#08_A [finite downsized]
7.CSN1 [excerpt 1 mono]
Be sure to see the MATRIXSYNTH exclusive further below!
FM EXPLORATIONS AND MICROTONAL DRONES FROM NYZ (AKA DAVE NOYZE, DAVID BURRASTON, NOYZELAB, BRYEN TELKO)
This is the first release by NYZ and is a superb musical collection of research areas classified to internal Noyzelab operations. Not even .MEDS label were informed of the secret processes underlying its creation, excepting that we know it involved Frequency Modulation (FM) synthesis! We have not been given any information regarding when this work was recorded, but we suspect the material spans at least a decade of David's FM algorithm research on numerous synthesizers, as well his own custom built ear deceiving gear...
According to one reviewer of David's previous musical output he "gleefully disrupts just about every standard convention of musical form you could think of, including those of so-called experimental musics."
Other reviewers have written that :
"His music is a bizarre, yet compelling journey investigating the outer realms of music generated on ancient & contemporary machines." "It's strikingly original audio that doesn't really sound like anything else I can think of." "Utterly sublime. So there you go, a life-affirming slab of mind-altering sound to reawaken you to the terrifying possibilities of creation."
"absolutely wreaks havoc" wrote Keith Fullerton Whitman on reviewing David's last release T. H. Cycle cassette on Important Records/Cassauna .
Cassette releases April 1, 2016
All Audio by David Burraston
Design Tom Knapp
----
MATRIXSYNTH recently asked NYZ why he put together this new album of FM synthesis based explorations, and whether he would discuss some of the process behind it. The declassified information below has been put together by NYZ especially for a MATRIXSYNTH exclusive.
***BEGIN NYZ DRN4 DECLASSIFICATION REPORT***
DC REPORT STATUS: PARTIAL DECLASSIFICATION ONLY
PARTIAL DC STATUS: INCOMPLETE CELLULAR BINARY SPACETIME
PARTIAL DC LEVEL: SEMI-PICTORIAL_TEXTUAL_HIGHLIGHTS
FUTURE DC STATUS: _PENDING
The main reasons for making this album were an interest in FM synthesis in both analogue modular and MIDI/digital mediums. I had worked with digital FM synthesis since getting a Yamaha TX81Z when they came out back in 1987 (which I still have, along with another backup machine with a very hummy mains transformer which bleeds onto the outs). How me and another synth friend used to cry with drunken laughter at preset D11 Hole in 1... :) But after initially wondering whether I had just wasted about 350 UK pounds on an utter piece of shit... I quickly warmed to its better presets, and its very different approach to synthesis yielded enough interesting results early on for it not to get outed.
Friday, January 07, 2011
NAMM & NOT NAMM - New Products on the Synth Front
Well, it's that time of year again. Keep an eye out on the NAMM label (added to top right menu) for everything NAMM and more. More in that anything new will get the label whether it's shown at NAMM or not. It's about new gear. Updates in this post will be preceded in red. Some already in below. See "The NAMM List!" link under the Twitter, Facebook, and RSS labels on top of the right to get back to this post later.
(A note on the top site menus: I removed the iPhone and iPad labels as they go up in posts every day now so you can find them there. eBay links are on the right, so I removed it as well.)
That said, the following are some of the things to look out for. If you have any NAMM info feel free to comment and/or send it in. If I missed anything, let me know! If you are going to NAMM, feel free to send pics and video in.
On the list:
(A note on the top site menus: I removed the iPhone and iPad labels as they go up in posts every day now so you can find them there. eBay links are on the right, so I removed it as well.)
That said, the following are some of the things to look out for. If you have any NAMM info feel free to comment and/or send it in. If I missed anything, let me know! If you are going to NAMM, feel free to send pics and video in.
On the list:
Sunday, September 13, 2015
An Interview with Barry Schrader
Hi everyone! As you know Barry Schrader will be giving his farewell concert at CalArts on September 26. The following is the beginning of my interview with him. I opted to post the questions and answers as they come in. New QAs will get a new post so you do not miss them and they will be added to this post so we have one central post for the full interview. This should make it easier for all of us to consume in our busy lives, and it will allow you to send in any questions that may come to mind during the interview process. If you have anything you'd like to ask Barry, feel free to send it in to matrixsynth@gmail.com. This is a rare opportunity for us to get insight on a significant bit of synthesizer history, specifically with early Buchla systems, and I'd like to thank Barry for this opportunity. Thank you Barry!
Tuesday, November 20, 2018
Vinyl Debut by NYZ - SHFTR FRQ - Featuring Aphex Twin's Sequentix Cirklon & PreenFM2
"+ [Special note for track A9 - SHFTR_CA#BB1] => A huge shout of thanks to Richard D James for gifting me a Sequentix Cirklon sequencer and PreenFM2 synth during my Regional Arts Fellowship in 2017! This was the first track I made using this gear. You can also read up more about my open source Farey Sequence FM programming tool for the PreenFM here =>
github.com/noyzelab/FareyPreenFM2
++ Folks interested in using cellular automata can also check out my open source Arduino based synth module here =>
github.com/noyzelab/uMANIAC"
NYZ of Noyzelab has a new release out on neon orange vinyl (limited to 300 copies) titled SHFTR FRQ which features PreenFM2 sequenced by the Sequentix Cirklon. You will find a track off the release above. Below you will find some exclusive pics sent my way from NYZ and info on the release from Forced Exposure where it is available in the US. The album is available in the UK from Boomkat here. Update: it's also available at Phonica Records, Norman Records, Juno Records, Redeye Records, and Bleep.
Burraston has previously collaborated with Alan Lamb on recordings of a mile-long telephone wire in the Australian outback, and more recently he issued nearly a dozen NYZ tapes and CDs with some of the most crucial modern music labels, as well as a number of releases under the Noyzelab and Bryen Telko aliases. In 2014, Dave self-published SYROBONKERS!, the most technical and in-depth interview ever given by Aphex Twin. Screen-printed jacket. RIYL: Russell Haswell, Aphex Twin, Eliane Radigue, EVOL/ALKU, Roland Kayn."
Thursday, September 30, 2021
Patch Notes: Qasim Naqvi
video upload by FACTmagazine
"Pakistani-American musician Qasim Naqvi is perhaps best known as a founder member of acoustic trio Dawn of Midi, in which he has played drums since 2007. Outside of his work in Dawn of Midi, Naqvi is an accomplished solo artist whose compositions have been performed by ensembles including the London Contemporary Orchestra and Chicago Symphony Orchestra, and soundtracked many films and documentaries.
Naqvi’s recent solo releases, such as 2019’s Teenages and 2020’s Beta, have made extensive use of synthesizers and modular systems. In this episode of Patch Notes, we invited Naqvi to perform at Pioneer Works, a non-profit cultural center in Redhook, Brooklyn.
'The building dates back to 1866 and was originally a railroad track factory,' Naqvi says. 'Now it’s a massive performing arts space. With my equipment, I was merging two systems that I’ve been configuring for a couple of years, a Verbos System and a Serge System. I also used a few random modules to connect everything: a Quad VCA from Intellijel and an X-Pan stereo module from Make Noise as the final output.'
'The acoustics are massive at Pioneer Works and we set everything up where the audience usually stands, so I was facing the house system,” he explains. “It was quite powerful to feel the music coming directly at me from this monstrous system. It definitely affected my choices. I wanted to embrace the full dynamic feel of the space, by exploring a range of highly dense sounds to rhythmic ideas, to more sparse and quiet moments. It was also a hellishly hot day and there was no AC in the building. At a certain point it felt like a clay oven.'
The piece Naqvi performs is called ‘Yes Mammal’, and was originally titled ‘Music for Modular Synthesizer, Dim Lamp and One Developing Melody.’ 'I wrote it in June for my first show in New York after a year and a half of not performing,' he explains. 'It’s evolved since then and I wanted to share it with Fact.'
'My background for a long time has been in acoustic music, where I write pieces and then share them with a group or individual to interpret. And from there they’ve made it into something larger. With the modular, I’ve been translating that way of thinking. Lately, I write a piece or a sketch and give it to an entity, in this case the synthesizer, and let it expand the music to more than just notes on the page. This piece is loosely written and I improvise with the material using the infinite possibilities of the modular synthesizer to give it shape in the moment. I like to think of it as live orchestration but with voltage.'
Naqvi has typically used this large-scale modular setup in the past to perform, but more recently he’s been experimenting with slimmed down systems to use in live performance settings. 'I’m making different and smaller hybrid configurations that are more tailor-made to the pieces I’m writing,” he says. “I still use this whole system when needed but it’s been an interesting exercise to slim down from time to time and make more with less.'
Naqvi’s most recent release is an EP titled Chronology, which was released on on Erased Tapes. 'It was made entirely on a very old and broken Minimoog synthesizer. It’s a special album that I made with a great relic.'
Follow Qasim Naqvi on Instagram: https://www.instagram.com/browniebonb...
Qasim Naqvi on Bandcamp: https://qasimnaqvi.bandcamp.com/
Credits:
Filmed and Recorded live at Pioneer Works in Red Hook, Brooklyn, NY
Video by Gabe Rubin, Wolfgang Daniel & Zack Shorrosh
Live Audio & Recording by Riley Stevens
Lighting by Matthew Mann
Production by Justin Frye"
Wednesday, April 30, 2014
Arturia Introduces Spark 2
Published on Apr 30, 2014 Arturia Web·127 videos
"Spark is an innovative drum production solution. Its cutting edge sound library, multiple synthesis engines and advanced sequencing functionalities will get you creative on your beatmaking tasks. Real-time performance tools and effects are here to explore new sonic territories, in the studio or on stage.
All sounds and patterns in this movie were made on Spark 2.
More info at:
http://www.arturia.com/evolution/en/p...
Arturia would like to specially thank the Arts Center MC2 in Grenoble for letting us shoot the movie in the Auditorium.
http://www.mc2grenoble.fr"
Spark2 Tutorials
And the press release:
"Arturia announces availability of outstanding SPARK 2 drum machine software
“I love the quick and easy ways to get results using SPARK 2. The ability to build up your own kit mixed with your own samples is very cool. My favourites to go for in SPARK 2 are the vintage drum machines. They have an analogue sound and no one hit is exactly the same, so you don’t get the ugly ‘machine gun’ effect — really useful!”
- Trentemøller, 2014 (electronic music producer and multi-instrumentalist)
GRENOBLE, FRANCE: having made its beat-making mark when premiered to critical acclaim at the 2014 NAMM Show in Anaheim, California, music and hardware company Arturia is proud to announce availability of SPARK 2 — bringing a new look, new feel, and new features to its premier sound- sculpting and performance drum machine software for Mac and Windows — as of April 30...
With the timely introduction of SPARK 2, Arturia has given its beat creation software a new look, new feel, and a whole host of new features fit to make it the premier sound-sculpting and performance drum machine on the market — all the more so when perfectly paired up with the award-winning SPARK Creative Drum Machine and SparkLE Creative Drum Machine controllers. It’s a match made in hybrid heaven that’s more flexible than ever before!
While SPARK has always been built on a fully-modular VA (Virtual Analogue) sound engine, originally only developers had access to this wonderful-sounding rhythmical power source. Not now. With the all-new MODULAR screen, SPARK 2 users are now free to add and subtract modules (including Oscillator, multimode Filter and Karplus-Strong Filter, Envelope, Lfo, MiniMixer, RingMod, and Bode Frequency Shifter); create their own patch routings; and assign up to six macro controls for immediate control. Clearly, it’s this truly modular, fully-accessible sound engine that makes SPARK 2 truly shine as the ultimate drum synthesizer!
With SPARK 2, Arturia has taken the opportunity to update the look and feel of SPARK to allow for faster workflow, while creating a layout that allows it to grow well into the future and secure its longevity — no easy feat in today’s here today, gone tomorrow’s world of rapidly disposable developments. New tabbed pages provide a cleaner look, more screen space, and faster access to the most needed features — features like an all-new MIXER window (with level, pan, and insert effects and sends — to 14 unique professional-grade effects, no less), expanded PATTERN edit screen, and enhanced LIBRARY page for better data management.
SPARK 2 also adds 50 new kits — including no fewer than 800 new instruments — that span many more musical genres than ever before, including trap, hip-hop, tech house, and nu disco, to name but a few modern electronic music styles, as well as acoustic drum kits capably spanning modern rock, funk, R ’n’ B, pop, vintage rock, and latin percussion. Vintage drum machine enthusiasts are also well catered for with ear-opening emulations of the likes of Roland’s TR-808, TR-909, TR-707, TR-606, and CR-78; LinnDrum, Linn 9000; Oberheim DMX; E-mu Drumulator; Sequential Circuits Drumtraks; Yamaha RX5; and Simmons SDS-V — analogue and digital classics all. And all kits come complete with 32 patterns that can be used by themselves or form the basis of user-programmed beats.
Bringing up the rear, SPARK 2 sees SONG mode updated, too. Song segments can now be configured and then replayed at the touch of a button. Users can create song sections that will play from one pattern to another and then recall these sections via the step buttons on the SPARK Creative Drum Machine and SparkLE Creative Drum Machine controllers — perfect performance enhancements!
Indeed, integration with the outside world works on multiple levels: as a 32- and 64-bit compatible virtual instrument for Mac and Windows, SPARK 2 can be run standalone or used as a plug-in with popular host DAWs (supporting 16 audio outputs that can be routed and assigned within the host); AIFF, WAV, REX2, and MIDI files can all be imported with drag and drop export of WAV format patterns and MIDI sequence formats into DAWs; and all parameters on SPARK 2’s MAIN screen are MIDI-assignable for control via any external MIDI device.
So why not get behind the wheel of a truly creative drum machine and let SPARK 2 help you create truly driving rhythms with minimum fuss and maximum musical output. No driving lessons required!
SPARK 2 can be exclusively purchased online from Arturia for an introductory promotional price of €129.00 EUR/$129.00 USD between May 1 and June 30, inclusive (rising to €169.00 EUR/$189.00 USD thereafter); alternatively, Arturia is also offering a promotional pricing of €199.00 EUR/$199.00 USD on the SparkLE Creative Drum Machine controller (with SPARK 2 included) between those same dates (rising to €249.00 EUR/$299.00 USD thereafter) from any authorised dealer or online from here: http://www.arturia.com/evolution/en/buy/spark2introductorypromotion"
Wednesday, October 03, 2012
Casio Limited Edition Gold XW-P1GD
"CASIO INTRODUCES LIMITED EDITION XW-P1 PERFORMANCE SYNTHESIZER
200 XW-P1GD Units Available Nationwide in Signature Hue
DOVER, NJ (October 3, 2012) /PRNewswire/ — Casio America, Inc. re-entered the professional synthesizer market this year with the launch of two products ideal for performing and recording artists – the XW-P1 Performance Synthesizer and the XW-G1 Groove Synthesizer. Based on the successful introduction of the XW series, Casio has teamed up with aNYthing, a streetwear/lifestyle brand located in New York City, to create a limited edition XW-P1 synthesizer.

“We were honored to work with Casio on the design of the limited edition XW-P1. Music is a major part of our culture and everyday life – it sets the stage for how people behave, dress and interact,” said Kiernen Costello, CEO of aNYthing. “We hope our creativity and experience helps Casio to make some noise among one of our core audiences – the underground, performing artists.”

“As the epitome of innovation, value and quality, we hope our limited edition XW-P1 sparks some excitement and inspires young artists,” said Mike Martin, general manager of Casio’s Electronic Musical Instrument Division. “Our collaboration with aNYthing represents a new direction for Casio in the musical instrument business. In the future, we plan on additional collaborations with both influential artists and unique companies that will further allow Casio to go beyond sound and enable musicians of varying levels to express themselves and enjoy music like never before.”
A six oscillator monophonic solo synth is just one of the amazing sound engines in the XW-P1. Two virtual analog style oscillators, two PCM based oscillators, a noise oscillator and an external oscillator via mic and line inputs can be combined to make up a single solo synth tone. Each oscillator has an independent filter, envelopes, independent key tracking, portamento, two LFO’s and access to master resonant filter.
In addition to the solo synth, the XW-P1 Performance Synthesizer is armed with an arsenal of gig-ready sounds like stereo pianos, vintage electric pianos, strings, brass, guitars, basses, drums and more. The sounds can easily be used within the XW-P1’s step sequencer to create unique grooves and compositions.
Furthermore, the XW-P1 has four real-time controller knobs, pitch bend and modulation wheels, along with nine sliders to provide control over internal sounds and external devices. Through standard MIDI ports and with a class-compliant USB port the keyboard can be used as a controller for other instruments, including computer software and iPad® based software applications. It also includes an audio input allowing you to monitor an MP3 player, computer or other device without the need for a mixer.
The XW-P1GD will be available in October 2012 for an MSRP of $799.00 at Guitar Center and Musician’s Friend. For additional information, visit www.casiomusicgear.com.
About Casio America, Inc.
Casio America, Inc., Dover, N.J., is the U.S. subsidiary of Casio Computer Co., Ltd., Tokyo, Japan, one of the world’s leading manufacturers of consumer electronics and business equipment solutions, established in 1957. Casio America, Inc. markets calculators, keyboards, digital cameras, mobile presentation devices, disc titles and label printers, watches, cash registers and other consumer electronic products. Casio has strived to fulfill its corporate creed of “creativity and contribution” through the introduction of innovative and imaginative products. For more information, visit www.casiousa.com.
About aNYthing
Founded by streetwear vet Aaron Bondaroff, known to the public at large as A-Ron the Don, aNYthing (A New York Thing) is a streetwear / lifestyle brand that has been bubbling on the New York underground for several years now. aNYthing has begun to evolve into a creative collective, bringing into the fold many of the untapped talents in arts and fashion that walk the New York streets."
Tuesday, October 31, 2023
Brainwave Music with Buchla 200 at Western Front
The following was sent in by Anastasia Chernysheva, a Ph.D. student at University of Illinois Urbana-Champaign.


Invited by the Canadian electronic music pioneer Martin Bartlett, Rosenboom gave a concert in two parts. The part presented the live performance application of the EEG system described above. In the second part of the performance, the composer used his voice, finger cymbals, a monkey drum, and a reed instrument to activate the software. A recording of the concert has been released for the first time by Black Truffle Records on the double-vinyl called “Brainwave Music” (1975/2019).
Videos from the concert can be watched on Rosenboom’s YouTube channel (see Part 1 and Part 2). Courtesy of the Western Front.
On Being Invisible was originally planned to premier at the Music Gallery in Toronto in 1976. However, due to an electricity outage that led to computer failure, the concert had to be canceled, while the audience was already gathered at the front door. Since the organizers had prepared beer for attendees, those waiting were invited inside. Once in, people gathered around the nonfunctioning set of equipment, looking at it with sad faces, as if they had come for a funeral. (see the photo below)
After rebuilding the equipment, Rosenboom performed the piece at the Music Gallery in 1977. This performance was published as vinyl by Music Gallery Editions and later re-released on CD by Pogus Productions.
* Technique of intentional modification of physiological parameters, such as heart rate, body temperature, breathing, etc.
Sources:
• Rosenboom, D. (Ed.) (1975) Biofeedback and the Arts: Results of Early Experiments. Aesthetic Research Centre of Canada Publications, Vancouver.
• Rosenboom, D. (1977a). On being invisible. Music Gallery Editions.
• Rosenboom, D. (1984). On Being Invisible. MusicWorks 28 (Summer), p. 10-13."
On Being Invisible, David Rosenboom at Western Front, Vancouver, 1977, Part 1 video upload by David Rosenboom
"David Rosenboom, On Being Invisible (1977), video documentation. Courtesy of Western Front. ID# WFVDN_7702_03-1 & ID# WFVDN_7702_03-2."
And the release on bandcamp:
Friday, May 30, 2014
Spitfire Signature Library via The Human League's and Heaven 17's Martyn Ware
Spitfire presents: MARTYN WARE - NIC library
Published on May 29, 2014 Spitfire Audio·114 videos
"A look at our new signature library from the synth pioneer Martyn Ware - founder member of The Human League and Heaven 17
http://www.spitfireaudio.com/martyn-w..."
And the press release:
"Spitfire swells Signature Range with synthpop production pioneer Martyn Ware
LONDON, UK: compositional tools creator Spitfire Audio is proud to announce availability of MARTYN WARE - NO ILLEGAL CONNECTIONS — the latest addition to its swelling Signature Range of sample libraries (where legendary composers, producers, and sound-smiths curate award-winning sonic DNA for future music-makers) for Native Instruments’ KONTAKT 4 or 5 (Mac OS X 10.7 or higher and Windows 7 or later) — as of May 30...
A distinctive pattern, product, or characteristic by which someone or something can be identified. So reads a typical dictionary definition of the word signature. Spitfire Audio’s Signature Range sample library luminaries certainly have a signature sound, hence the apt appellation. As one of the most successful, influential, and prolific film composers of his generation, Hans Zimmer — with whom Spitfire Audio previously collaborated on the HZ PERCUSSION - LONDON library, a definitive collection of hybrid cinematic widescreen percussion ensemble excellence — surely needs little in the way of introduction, for example.
Today it is with great pride that Spitfire Audio welcomes another trailblazer to its legendary Signature Range sample library lineup with MARTYN WARE - NO ILLEGAL CONNECTIONS. This time namesake legendary synthpop production pioneer Martyn Ware — founding member of electronic trailblazers The Human League and synth-funksters Heaven 17, and also a revered record producer in his own right with a sizeable number of super-successful credits to his sought- after name with over 50-million sales worldwide for the likes of ‘Queen of Rock ’n’ Roll’ Tina Turner, American singer-songwriter Terence Trent D’Arby, and eternal electro-poppers Erasure — offers up an exclusive collection of favourite analogue synth and drum sounds from his prized collection of rarefied electronic delights. These include Korg’s mid-Seventies-vintage Mini-KORG 700 ‘simple’ analogue monosynth and the Roland System 100 semi-modular monophonic synth with which Martyn made his name on early Human League classics like ‘Being Boiled’ — though the examples used on MARTYN WARE - NO ILLEGAL CONNECTIONS were actually gifted to Martyn by Erasure synth Svengali Vince Clarke (who openly admitted to being influenced by those early electronic recordings) upon discovering that Martyn had long since sold his originals — and the early-Eighties-vintage Jupiter-8, Roland’s first truly professional programmable analogue polysynth that formed the backbone of Heaven 17 hits like ‘Temptation’. Before making their own distinctive mark on the hit parade, prior to owning a drum machine, Martyn and his Human League (and Heaven 17) synth-playing partner Ian Craig-Marsh’s make do and mend modus operandi involved rhythmically riding faders on the aforesaid System 100 and its associated Model 104 Sequencer to create bass and snare drums on the fly! Little wonder, then, that the then-young Vince Clarke sat up and took note during his fledgling Depeche Mode days.
Having joined forces with Vince Clarke to form The Illustrious Company, combining their talent to exploit the creative and commercial possibilities of their unique three-dimensional sound technology in collaboration with fine artists, the performing arts, and corporate clients worldwide, Martyn extensively lectures on music production, technology, and creativity at universities and colleges around the world when not working in his studio space at London’s Tileyard Studios complex — coincidentally, also home to Spitfire Audio!
By way of further background to the welcome MARTYN WARE - NO ILLEGAL CONNECTIONS release, Spitfire Audio co-founder Paul Thomson tellingly pays tribute to the accomplished individual in question before going on to introduce the latest Signature Range sample library itself: “Martyn’s a legend in the electronic music field. He’s a founder member of The Human League; his first massive hit was ‘Being Boiled’. And then he left to form Heaven 17 with Ian Craig-Marsh; they had another massive hit with ‘Temptation’, although American audiences may be more familiar with the hit ‘Let Me Go’, which was played hugely on KROQ and MTV over there. He went on to produce with huge success; he helped relaunch Tina Turner’s career with ‘Let’s Stay Together’ and ‘Private Dancer’. He produced Terence Trent D’Arby, Marc Almond, Erasure, and many others. His early albums were direct precursors, in many ways, to the directions that hip-hop took Stateside when it went electro in the early Eighties. We believe that the key to sampling synths is not just good signal chain, but it’s also the curatorship of the sounds, and this is a rare opportunity to share in Martyn’s sonic approach — the buttons and dials that he tweaks to suit his taste and his heritage. So we get to see what he can come up with on these machines — fantastic synths like the Roland System 100, Jupiter-8, and the Korg 700. We’ve also got a warped collection, which is kind of sound designed from this original material. We’ve got some modern interpretations, but it’s largely curated to be in the spirit of Martyn’s style — how the young electronic acts in the UK inspired the likes of Afrika Bambaataa with the burgeoning electro and hip-hop scene Stateside in New York and the South Bronx.”
It goes without saying, therefore, that Martyn Ware and his creative cohorts proved inspirational back in the day while MARTYN WARE - NO ILLEGAL CONNECTIONS clearly is inspirational today to anyone looking to make musical use of a broad selection of pads, leads, drums, effects, tempo-locked sequences, and all manner of curios created by the man himself, with additional sympathetic sound design by award-winning composers and producers — all presented in ‘Super Mono’ to provide a selection of channels processed via vintage Class-A analogue outboard. With over 270 piquant presets — some with up to five distinctly-different mixable signal paths — providing a total library size of 13.5 GB in compressed downloadable data from 25.1 GB of WAV files totalling 11,016 samples, such musical inspiration from a true trailblazer is unlikely to dry up anytime soon. Just ask the now-not-so-young Vince Clarke — all set to release his 16th studio album with Erasure, his third successful group since first hearing Martyn Ware’s time-honoured Human League tones 30-plus years ago!
MARTYN WARE - NO ILLEGAL CONNECTIONS can be purchased and downloaded directly from Spitfire Audio for an introductory promotional price of £75.00 GBP (subject to VAT within the EU) until June 12, 2014 (rising to £99.00 GBP thereafter) from here: http://www.spitfireaudio.com/products-page (Note that this will require a full version of Native Instruments KONTAKT 4 or 5 to run.)
For more detailed info and individual demos from Spitfire Audio co-founders Christian Henson and Paul Thomson skilfully showcasing MARTYN WARE - NO ILLEGAL CONNECTIONS’ creative sound design visit the dedicated webpage here: http://www.spitfireaudio.com/martyn-ware-no-illegal-connections
Watch Spitfire Audio co-founder Paul Thomson’s telling MARTYN WARE - NO ILLEGAL CONNECTIONS video walkthrough here: https://www.youtube.com/watch?v=LdmFXFj7GQw"
Published on May 29, 2014 Spitfire Audio·114 videos
"A look at our new signature library from the synth pioneer Martyn Ware - founder member of The Human League and Heaven 17
http://www.spitfireaudio.com/martyn-w..."
And the press release:
"Spitfire swells Signature Range with synthpop production pioneer Martyn Ware
LONDON, UK: compositional tools creator Spitfire Audio is proud to announce availability of MARTYN WARE - NO ILLEGAL CONNECTIONS — the latest addition to its swelling Signature Range of sample libraries (where legendary composers, producers, and sound-smiths curate award-winning sonic DNA for future music-makers) for Native Instruments’ KONTAKT 4 or 5 (Mac OS X 10.7 or higher and Windows 7 or later) — as of May 30...
A distinctive pattern, product, or characteristic by which someone or something can be identified. So reads a typical dictionary definition of the word signature. Spitfire Audio’s Signature Range sample library luminaries certainly have a signature sound, hence the apt appellation. As one of the most successful, influential, and prolific film composers of his generation, Hans Zimmer — with whom Spitfire Audio previously collaborated on the HZ PERCUSSION - LONDON library, a definitive collection of hybrid cinematic widescreen percussion ensemble excellence — surely needs little in the way of introduction, for example.
Today it is with great pride that Spitfire Audio welcomes another trailblazer to its legendary Signature Range sample library lineup with MARTYN WARE - NO ILLEGAL CONNECTIONS. This time namesake legendary synthpop production pioneer Martyn Ware — founding member of electronic trailblazers The Human League and synth-funksters Heaven 17, and also a revered record producer in his own right with a sizeable number of super-successful credits to his sought- after name with over 50-million sales worldwide for the likes of ‘Queen of Rock ’n’ Roll’ Tina Turner, American singer-songwriter Terence Trent D’Arby, and eternal electro-poppers Erasure — offers up an exclusive collection of favourite analogue synth and drum sounds from his prized collection of rarefied electronic delights. These include Korg’s mid-Seventies-vintage Mini-KORG 700 ‘simple’ analogue monosynth and the Roland System 100 semi-modular monophonic synth with which Martyn made his name on early Human League classics like ‘Being Boiled’ — though the examples used on MARTYN WARE - NO ILLEGAL CONNECTIONS were actually gifted to Martyn by Erasure synth Svengali Vince Clarke (who openly admitted to being influenced by those early electronic recordings) upon discovering that Martyn had long since sold his originals — and the early-Eighties-vintage Jupiter-8, Roland’s first truly professional programmable analogue polysynth that formed the backbone of Heaven 17 hits like ‘Temptation’. Before making their own distinctive mark on the hit parade, prior to owning a drum machine, Martyn and his Human League (and Heaven 17) synth-playing partner Ian Craig-Marsh’s make do and mend modus operandi involved rhythmically riding faders on the aforesaid System 100 and its associated Model 104 Sequencer to create bass and snare drums on the fly! Little wonder, then, that the then-young Vince Clarke sat up and took note during his fledgling Depeche Mode days.
Having joined forces with Vince Clarke to form The Illustrious Company, combining their talent to exploit the creative and commercial possibilities of their unique three-dimensional sound technology in collaboration with fine artists, the performing arts, and corporate clients worldwide, Martyn extensively lectures on music production, technology, and creativity at universities and colleges around the world when not working in his studio space at London’s Tileyard Studios complex — coincidentally, also home to Spitfire Audio!
By way of further background to the welcome MARTYN WARE - NO ILLEGAL CONNECTIONS release, Spitfire Audio co-founder Paul Thomson tellingly pays tribute to the accomplished individual in question before going on to introduce the latest Signature Range sample library itself: “Martyn’s a legend in the electronic music field. He’s a founder member of The Human League; his first massive hit was ‘Being Boiled’. And then he left to form Heaven 17 with Ian Craig-Marsh; they had another massive hit with ‘Temptation’, although American audiences may be more familiar with the hit ‘Let Me Go’, which was played hugely on KROQ and MTV over there. He went on to produce with huge success; he helped relaunch Tina Turner’s career with ‘Let’s Stay Together’ and ‘Private Dancer’. He produced Terence Trent D’Arby, Marc Almond, Erasure, and many others. His early albums were direct precursors, in many ways, to the directions that hip-hop took Stateside when it went electro in the early Eighties. We believe that the key to sampling synths is not just good signal chain, but it’s also the curatorship of the sounds, and this is a rare opportunity to share in Martyn’s sonic approach — the buttons and dials that he tweaks to suit his taste and his heritage. So we get to see what he can come up with on these machines — fantastic synths like the Roland System 100, Jupiter-8, and the Korg 700. We’ve also got a warped collection, which is kind of sound designed from this original material. We’ve got some modern interpretations, but it’s largely curated to be in the spirit of Martyn’s style — how the young electronic acts in the UK inspired the likes of Afrika Bambaataa with the burgeoning electro and hip-hop scene Stateside in New York and the South Bronx.”
It goes without saying, therefore, that Martyn Ware and his creative cohorts proved inspirational back in the day while MARTYN WARE - NO ILLEGAL CONNECTIONS clearly is inspirational today to anyone looking to make musical use of a broad selection of pads, leads, drums, effects, tempo-locked sequences, and all manner of curios created by the man himself, with additional sympathetic sound design by award-winning composers and producers — all presented in ‘Super Mono’ to provide a selection of channels processed via vintage Class-A analogue outboard. With over 270 piquant presets — some with up to five distinctly-different mixable signal paths — providing a total library size of 13.5 GB in compressed downloadable data from 25.1 GB of WAV files totalling 11,016 samples, such musical inspiration from a true trailblazer is unlikely to dry up anytime soon. Just ask the now-not-so-young Vince Clarke — all set to release his 16th studio album with Erasure, his third successful group since first hearing Martyn Ware’s time-honoured Human League tones 30-plus years ago!
MARTYN WARE - NO ILLEGAL CONNECTIONS can be purchased and downloaded directly from Spitfire Audio for an introductory promotional price of £75.00 GBP (subject to VAT within the EU) until June 12, 2014 (rising to £99.00 GBP thereafter) from here: http://www.spitfireaudio.com/products-page (Note that this will require a full version of Native Instruments KONTAKT 4 or 5 to run.)
For more detailed info and individual demos from Spitfire Audio co-founders Christian Henson and Paul Thomson skilfully showcasing MARTYN WARE - NO ILLEGAL CONNECTIONS’ creative sound design visit the dedicated webpage here: http://www.spitfireaudio.com/martyn-ware-no-illegal-connections
Watch Spitfire Audio co-founder Paul Thomson’s telling MARTYN WARE - NO ILLEGAL CONNECTIONS video walkthrough here: https://www.youtube.com/watch?v=LdmFXFj7GQw"
Saturday, June 25, 2016
«WOMB» — hands on interactions with digital sound
«WOMB» — hands on interactions with digital sound from a guy called tom on Vimeo.
"Knobs, buttons and keys are the dominant means of interaction with electronic musical instruments. The aim of the «WOMB» prototyp is to explore alternativ ways to this paradigm. What if we could shape digital sounds with our hands, in the same way we can shape/sculpt clay?
«WOMB» is a hybrid electroacustic instrument that allows rich, direct, haptic interaction with a multidimensional parameter space through a flexible userinterface. It is based on the awesome Axoloti plattform and was developed as part of my masters degree in interaction design at the Zurich University of the Arts (ZHdK)."
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© 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