MATRIXSYNTH: Search results for sal-mar


Showing posts sorted by relevance for query sal-mar. Sort by date Show all posts
Showing posts sorted by relevance for query sal-mar. Sort by date Show all posts

Monday, August 06, 2007

Sal Mar Performances


YouTubes via ZanterM

"I took this video in April of 2004 at "New Directions in the Study of Musical Improvsation: An Interdisciplinary and Intercultural Conference" hosted by the UIUC Musicology division. It features David Rosenboom, dean CAL Arts [Music School], playing the SAL MAR for the first time in 20 years ; the culmination of the efforts to revive this amazing instrument! Viva la Sal! Viva la SAL MAR! MZ"


picture of David Rosenboom with the Sal-Mar Construction as restored by engineer Greg Danner, University of Illinois, April, 2004. via AudioLemon.

You can find additional posts featuring the Sal-Mar here.

Saturday, March 24, 2012

Sal-Mar construction restoration


flickr set By gdanner
(click for more)

"Starting in 2003 I began to restore the Sal-Mar construction. The machine is a massive analog synthesizer with a unique digital logic control system. There are 4 sub-audio oscillators, 8 audio oscillators, and 2 percussion generators."

via K-boarding Synthesizer on Facebook

"First, in 2007 Matrixsynth covered Greg Danner’s restoration of the notorious Sal-Mar Construction, an obscenely complex synthesizer from 1969 controlled by digital logic sequencers. Also in 1969, Joel Chadabe had Moog build a modular synth along roughly similar lines, no keyboard, lots of sequencers. The innards of the CEMS are documented here."

See the Sal-Mar label below for more.

Wednesday, January 14, 2009

Sal-Mar construction


flickr sets by gdanner
(click for more)

For more detailed info on the Sal-Mar see the label at the bottom of this post. It was restored by Greg Danner, who is of course gdanner.

via Deviant Synth, where you will also find a note and link to images of the MOOG CEMS Modular. I was going to post it as well but realized I already have (CEMS label below).



Friday, May 13, 2016

Skot Wiedmann of the Hyve Touch Synthesizer & Motus Mavis Visits the Sousa Museum



via Skot Wiedman:

"Some photos from my class field trip to the Sousa Museum. What a wonderful opportunity to play the Sal-Mar Construction with a tour from Scott Schwartz, the curator of the museum. We got to take a peek inside and see the massive wiring and circuitry. The archival gloves are conductive so we could play the touch panel. Fascinating interface and great sounds - very deep and complex."

Check out the wires under the front panel of the Sal-Mar below. You'll find the full set of pics from Skot's visit here.


Tuesday, May 02, 2006

Salvatore Martirano on Chroniques de la Mao


Click here for a post on Salvatore Martirano on Chroniques de la Mao. "I have just put on my blog an astonishing machine of Salvatore Martirano - American composer born on January 12, 1927 in Yonkers, New York, dead on November 17, 1995 - which I had taken in photograph in 1981 at the time of the international festival of Electronic Music, Video and Computer Art" The post includes an mp3 link, more shots and a link to The SAL-MAR Construction. Fascinating stuff. BTW, you might recognize the SAL-MAR Construction from this post.

Update via deb7680:

"Thanks Matrix. Attention, the MP3 is not Salvatore Martirano but duet HplanK with synths (RSF and Ems Synthi Aks), guitar and computers (Apple II and first IBM PC) which I created in 1981. I evoked Hplank because it is the festival of the Plan K in Brussels which gave me the idea of the name of HplanK.
For the meetings, since 1971, I work in the arts centres and as a critic musical in the newspapers. It is my work. I was likely to meet a great number of composers, Pierre Boulez, XĂ©nakis, Pierre Henry Morton Subotnick, musicians like John Mc Laughlin, David Murray, Soft Machine, Cure, Jean-Luc Ponty, Art Ensemble of Chicago, Sun Ra, etc...
See this : http://www.deb7680.com/documentation/pierrehenry.pdf"

BTW, if you haven't already, check out Chroniques de la Mao for a lot more on these subjects.

Thursday, November 12, 2015

Harmonic Tone Generator Exhibit Pics


Click here for some pics, in via Skot Wiedmann, of the debut of the Harmonic Tone Generator exhibit, at the Sousa Museum in Urbana-Champaign

Left: The original Harmonic Tone Generator.

via illinois.edu: "The Sousa Archives acquired one of the earliest instruments that composed synthetic music, created by Professor Emeritus James Beauchamp in 1964.

Beauchamp's machine will be exhibited and preserved at the archives, accompanied by a recreated digital version created by ECE electronics services technician Mark Smart.

The instrument was used to compose some of the earliest compositions in electronic music, such as "Underworld" by Salvatore Martirano [embed below]. This type of music would evolve over the years into today's DJ scene."

You'll find articles about the exhibit at the following links:

https://www.ece.illinois.edu..
https://archives.library.illinois.edu..
https://archives.library.illinois.edu...

Below: "Scott Schwartz, Mark Smart, and Jim Beauchamp with the original Harmonic Tone Generator at the Sousa Archives - University of Illinois at Urbana Champaign."

The Sal-Mar is pictured further below. You'll find previous posts including some video of it here.

"The SalMar Construction is displayed next to the Harmonic Tone Generator at the Sousa Archives - University of Illinois at Urbana Champaign. What an exciting time in electronic music, with such cross disciplinary collaboration on these instruments and music."



Published on Nov 5, 2014 #SalvatoreMartirano

Monday, April 07, 2008

Lecture Session with Don Buchla

"You all know about the Moog. But what about Don Buchla, the Californian synthesizer designer whose Buchla Series 100 was released mere months after Dr. Bob's first synth? His electronic music equipment company, Buchla and Associates, were commissioned by avantgarde composers Morton Subotnik and Ramon Sender to create something they could use in live performance - and since then he's been creating and designing a whole range of unusual electro-acoustic instruments and deeply desirable modular synths. That includes the intruiging Marimba Lumina, the classic 1970 200 Series Electric Music Box or indeed the hot little analogue cutie, 1972's Music Easel. Buchla's sonic toys combine a colourful aesthetic with supernatural sonic abilities. Genius alert!"
You can find the podcast interview on Red Bull Music Academy. via Ghostdog.
Update: also see Don Buchla - Passing The Acid Test where you can find the transcript and video of this (368K link).
BTW, you can search for some of the instruments Don Buchla mentions, including the Musical Telegraph, the Telharmonium, the Sal Mar, and more here on the top lef of the site.

Update: video is now embeddable:

Friday, May 13, 2016

Synth Rorschach #45: Historic Computers


This is just a handful of them.  See Creative Review for the rest. Spotted this one on Boing Boing.

Left reminds me of a Doepfer eurorack. The second pic below reminds me of colored banana jack DIY modules. The one below it reminds me of the Sal-Mar. Serge below it and finally the $40,000 Holland SM2000 Eurorack Modular Synthesizer bottom. Tagging them in the labels below just for reference.

Monday, February 13, 2006

The SALMAR CONSTRUCTION


Interesting piece. Title link takes you to more. "In 1969, Salvatore Martirano along with a group of engineers and musicians at the University of Illinois began work on the design and construction of a musical electronic instrument. The instrument, named the SAL-MAR CONSTRUCTION, is a hybrid system in which TTL logical curcuits (small and medium scale integration) drive analog modules, such as voltage-controlled oscillators, amplifiers and filters.

The performer sits at a horizontal control panel of 291 lightable touch-sensitive switches (no moving parts). The two-state switches are used by a performer to dial sequences of numbers that are characterized by a variety of intervals and lengths. A sequence may then bypass, address, or be added to other sequences forming an interlocked tree of control and data according to a performer's choice. The unique characteristic of the switch is that it can be driven both manually and logically, which allows human/machine interaction. The most innovative feature of the human/machine interface is that it allows the user to switch from control of macro to micro parameters of the information output. This is analogous to a zoom lens on a camera."

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!

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