MATRIXSYNTH: Art Installations

Showing posts with label Art Installations. Show all posts
Showing posts with label Art Installations. Show all posts

Monday, October 02, 2023

The Sidequest Rave - Unveiling the First of Three

video upload by jwotto

"🎵 Welcome to 'The Sidequest Rave' Experience! 🎵

Step into a realm where differences and limitations give rise to danceable musical eruptions. In this video, I'm thrilled to showcase one of the three captivating music machines that turn every touch, every rhythm, and every sound into a unique musical narrative.

'The Sidequest Rave' is a sound installation that seamlessly fuses technology, music, and design, placing the audience at the heart of the experience. Here, each interaction weaves a distinct musical tale, championing diversity, playfulness, and unity."

Sunday, August 27, 2023

RIP Barry Schmetter aka Resonant_Space

The following is in via Supporting member, Poorness Studios.

"I have some more bad news. My friend Barry Schmetter passed away earlier in the week. He died of a heart attack in his home. It's hitting me really hard so I just can't find the energy to sing a Sunday Song this week, but I will play a snippet from one of Barry's art installations."

Curium (a tribute to Barry Schmetter)
video upload by Musical Miscellany (Poorness Studios)

"Resonant_Space, aka Barry Schmetter is a Washington DC-based artist creating ambient and experimental electronic music using modular synthesizers and field recordings. He also creates sound and video installations, and video art."

The following is a playlist of Barry's synth related videos followed by his works on SoundCloud.

video uploads by resonant_space

Sunday, July 02, 2023

The Soothing Ambience Of The French Riviera (in a Box)

video upload by HAINBACH

"French artist Gilou loaned me his Boxed Sandpit to play with. It is lovingly crafted hybrid of electro-acoustic sound and digital control. Using beach sand, a rake, a shovel and smooth stones as MIDI controllers, it is possible to create some very chill sounds. Check out his work:"

Sunday, June 12, 2022

ReSynthesizer (Autonomous Synthesizer Installation at MIT's PSFC, Spring/Summer 2018)

video upload by ParadisoModular

"In December of 2017, as part of the 50’th anniversary celebration for MIT’s CAVS (Center for Advanced Visual Studies), I was invited to install my large, custom built-and-designed modular synthesizer system into the experimental hall where Alcator C-Mod was residing, MIT’s most recent tokamak reactor used in plasma fusion research. Known as being a pioneering melting pot for art and technology during the 60s, 70s and 80s, the CAVS was a place where scientific fields like physics would commune with performance and music. Modular synthesizers, as used there by early adopters like Paul Earls, were part of the Center’s original vernacular, and after many decades they are being enthusiastically re-discovered, re-embraced, and in many way re-invented by the current young generation of electronic musicians. Such reflected synergy into the present led to my invitation (as well as this installation’s name), as did the match between the aesthetic and technical grandeur of a large heavily-patched modular synthesizer and the huge mélange of custom, elegantly-kludged electro-mechanical systems that surrounded the tokamak. Similarly, the researchers’ quest to manage the chaotic nature of an energetic plasma (as expressed inside the tokamak’s torus during the peak of plasma confinement) resonated with my efforts to ‘sculpt’ my autonomous and likewise chaotic huge synthesizer patch into a definable aesthetic.

As I have my PhD in high-energy physics (having worked at CERN at various times between the late 70s and early 90s) in addition to having designed, built, and used electronic music systems of various sorts over the last 45 years, I was anticipating having access to actual Alcator data and using it in the patch that I would compose when the installation would go live in late March of 2018. My plasma physics colleagues resonated with this idea, and I was provided with several waveforms coming from various sensors on the tokamak acquired during its record-breaking run from a few years ago, when Alcator C-Mod had attained the largest recorded plasma pressure. Listening to this data as audio, I was immediately transfixed. This didn’t sound like bland digital noise, but instead felt alive – some strange kind of muted rattlesnake here, burbling life forms on a weird water planet there, perhaps other samples evoked the barely scrutable control room of an alien spaceship. These sounds, played at various rates and filtered into audible bands, were strongly otherworldly. This dictated the flavor that I’d strive for in my patched composition. Accordingly, I loaded banks of Alcator’s waveforms into an array of Eurorack samplers that I could control from processes running in my synthesizer. While most of these signals were used as direct audio, some were adopted for modulation envelopes and slow control – the tokamak cycle exhibited a variably noisy build-and-release structure as the magnetic fields were ramped up to concentrate the plasma before it went terminally unstable, which worked well here.

My patch evolved considerably during the installation, which ran from late April through late August of 2018. I worked on it weekly, and it achieved its ultimate balance between form and complexity by the beginning of July. At the end, I used every patch cord that I owned (on the order of 700) and nearly all modules in the synth, in addition to an assortment of outboard effects and commercial Eurorack modules that I coaxed to work with my system. Towards the end, when I was starting to run out of cords and hardware capacity, I resorted to kludging in simple wires and electrical components hanging in the air between modules to attain effects and sounds that I still wanted but didn’t have the modules available to make. This was the most extensive and ambitious synthesizer patch that I’ve yet composed – it pushed me to extremes of being simultaneously a composer, synthesizer musician, engineer, and scientist. Having designed, built or custom-modified nearly everything in my setup creates a special rapport for me that goes deeper than interaction with commercial synthesizer equipment – my system has its own unique capabilities and quirks that reflect my personal audio nuances and what I want to achieve with them.

At various stages during the 4-month run of this installation, I digitally recorded the patch’s stereo mix – in all, I have archived probably on the order of 60 hours of audio. The excerpts provided in this video all came from different sections of this long set of recordings. Aside from cross-fading between different excerpts, there was no manual intervention or overdubbing in these clips – the sound was made entirely from the patch running on its own after I set it on its way, with updates and augmentations I made every week or two based on ideas I got while listening to it stream online. The video also features a brief example of some of the raw plasma data sounds that I used."

And in the studio:

Synth Patch For Chaos Unit, Sitar Pedal, and NightSky'ed Keyboard (August 2021)

video upload by ParadisoModular

"In the summer of 2021, I put in a synth patch to test out my newly-arrived Sitar Pedal as well commemorate the tweaking/repair of my voltage-controlled chaos module. This was a very simple patch compared to my usual - nothing too deep or thought out, and the master sequence is a bit shallow - but it has its vibe. Plus, at 2:30 in, I added a keyboard line over what the patch was doing. This was all live - the synth patch ran autonomously and I just recorded as I played - no preparation, overdubbing, or refinement here - hence it's raw and not even close to what I'd term finished or a 'demo' - but I kinda like its intrinsic 'hopeful' feel.

The basic sequence is running through the sitar pedal, which locks on fine (it can separate the drone sounds and re-synthesized lead into separate channels). I'm running a fixed tone also through my chaos generator, which I move in a complex way into and out of stability - it locks onto subharmonics or devolves totally/partially into noise as it sweeps. This sound goes through several signal processing paths that periodically fade in, involving filters, unstable phase-locked loops, and a Boss guitar synthesizer pedal (which does wonderfully noisy gyrations as it tries to lock onto the chaos signal between stable moments).

At that time, as opposed to collecting Eurorack modules, I was slowly accumulating and modifying pedals - pedals are all about modifying an input sound in interesting ways, and which generally appeals to me (I hack them, of course, to accept voltage control in different ways).

The only keyboard sound here (aside from one chord and arpeggio at the end) is from the little cheezebox Casio 'toy' that the Minskys gave me at a Media Lab event some years ago - I abandoned my more sophisticated synths for this one in this piece, as it fits easily on your lap (that's how I played it in the excerpt here) and it sounds amazing if you feed it through one of the new complex reverb/echo/delay pedals like the NightSky or Micropitch (those pedals can put any sound into an evocative space).

The video is indeed of this patch and me playing atop it (shot while I was holding the phone in my other hand), but it's not the live segment that you hear in the piece, so pardon if things don't line up entirely, but you get the vibe.

OK - I figured I'd let this one get a bit of air in case it hits some resonance... It radiates a bit of melancholic positivity, which is something we all relate to these days."

Wednesday, May 25, 2022

MAKEN0ISE: In Conversation With Richard Devine

video upload by MAKEN0ISE

"Talking with Richard Devine about his new piece, Recursion Constructors!

Check out the piece and a lot of supplemental material at these links!

Recursion Constructors at Bandcamp:
Recursion Constructors on YouTube: [Richard Devine: Recursion Constructors below]
FluCoMa article with demonstration Max patches:
Richard's detailed explanation of the patch: [Traces of Fluid Manipulations: Richard Devine below]

Richard's earlier work with Make Noise:
Creature EP from the Shared System Series, 2012:

Recursion Mechanism installation from Make Noise 10-year celebration in 2018: [posted here]"

Richard Devine: Recursion Constructors

video upload by

"Richard performed in his studio an acousmatic piece, utilizing mixed media which comprises a customized modular system with robotic triggers, mechanical springs, coils, exotic metallic percussion, and waterphone."

Traces of Fluid Manipulations: Richard Devine

video upload by Fluid Corpus Manipulation

"Richard Devine discusses the role the Fluid Corpus Manipulation toolset played in the creation process of his performance entitled 'Recursion Constructors' at the 'Liminal Spaces' concert during the Dialogues Festival ("

Friday, April 22, 2022

Printed Circuit Birds by Kelly Heaton

Printed Circuit Bird (Bluejay), 2022 from Kelly Heaton on Vimeo.

My "printed circuit birds" are self-contained sound generators. The electronics are � analog: no audio recordings or software are involved. By “analog” I mean that the sound is dynamically produced by the bird’s body (aka the circuit), like a vintage synthesizer. In this video, I adjust knobs to change resistance in the circuit, thereby altering the song quality. You can think of this like adjusting neurons in a bird’s brain to alter the impulse by which it vocalizes. I am passionate about building circuits because they demonstrate the life-like qualities of electronic hardware, which is often over-looked in favor of software. I’m not sure why we abandoned analog hardware along the road to technological advancement— digital is great for what it does, but it’s not the full spectrum of creative electronics. It would require a vast amount of hardware to build a digital computer capable to execute code for birdsong like this.

Survey of my electronic songbirds from Kelly Heaton on Vimeo.

A three minute overview of some electronic songbirds I made in the past two years.

Survey of my electronic songbirds from Kelly Heaton on Vimeo.

Circuit Bird (AP 1/1) from Kelly Heaton on Vimeo.

"Circuit Bird" is a mixed media piece made with traditional printmaking techniques, laser cutting, and electrical engineering. The electronics, which are entirely analog (meaning, there is no computer, software, or audio recording involved) generate bird-like sounds that can be adjusted using knobs on the front panel of the work. Each knob controls the frequency of a single oscillator, which is a circuit element that vibrates when exposed to electricity. There are six oscillators in the entire piece, each with two knobs. The reason for the two knobs is that I have built a type of circuit called an "astable multivibrator," in which oscillation is produced by two transistors that are connected together with a combination of capacitors and resistors. The easiest way to visualize this dynamic is to think of a tennis match wherein electrons are bounced back and forth between two players in a rhythmic volley. Each transistor, aka "tennis player," hits the electronic "tennis ball" with a force that returns it to the opposite transistor (like Pong). This back and forth bouncing of electrons creates a sinusoidal waveform of rising and falling electricity: hence, creating an oscillation.

A single oscillation is not particularly interesting to see or hear; it creates a continuous pulse, such as a blinking light or beeping sound. However, things get interesting when you combine oscillators to create patterns. In my practice of creative electrical engineering, I have discovered that five or six interconnected oscillators are sufficient to produce an electronic pattern or "grammar" reminiscent of birdsong. "Circuit Bird" demonstrates the expressive potential of analog oscillators to mimic life-like behaviors. I discuss this insight in greater detail in this presentation from Fall of 2020:

Documentation of "Circuit Bird," 2021 (artist's proof 1/1). The art is made with electronic hardware, printed circuit boards, foiled chipboard, and screen-printed silk that has been laminated on a wooden frame. Dimensions are 35" tall, 23.5" wide, and 1.5" deep

Tour of the analog electronic soundscape in my studio (January, 2021) from Kelly Heaton on Vimeo.

Works shown include: Big Pretty Bird (2019), Bluebird (2020), Pretty Bird ver.CC (2019), Parrots (2020), Birds at my Feeder (2020), Electrolier / September Night (2018), Moth Electrolier (2019), and The Great Conjunction (2021). All of the lights and sounds are dynamically generated by analog electronic hardware of my own design.

Wednesday, September 08, 2021

Tapeloop and Eurorack Synthesizer / Sound Installation

video upload by Takeyuki Hakozaki / Pollypraha

"All Sounds and Visuals, Movie Shooting by Takeyuki Hakozaki
I did a live performance as part of the first anniversary event of the
art gallery 'HAKO' in Chiba City, Japan.

For this performance, I played back the piano I recorded last night
on two Nagra reel-to-reel recorders at half speed, and played the
Verbos synthesizer along with it.

The windows of the gallery were fully opened to prevent Covid, so
we could hear the sounds of the crowd and cars driving by while a
comfortable breeze came in.

The cool, cloudy weather made for a pleasant performance."

Monday, June 14, 2021

Monome Norns + Grid (MLR script) and Teenage Engineering OP-1

video by Luca Longobardi



Like a mini art installation. What do you see?

Thursday, June 10, 2021

Immersive Van Gogh Exhibit at Pier 36 - New York

video by Luca Longobardi

I thought this was pretty cool. You might have heard about this exhibit online and/or via the news. It turns out Luca Longobardi did the soundtrack for it. His synth videos have been featured here on the site , a couple of which were from Polyend.

"Our Immersive Van Gogh Exhibit opens today in New York and you can't imagine how much I wanted to be there! Because New York is the city that gave me, in my years of studies there, the awareness of how much music could give and do for people." Knowing that from today in the City, (a lot!) people will listen to the soundtrack I wrote for our show makes me happy and excited. Today I feel my heart full of joy!"

Friday, May 14, 2021

BARCODE-BOARDING Testing in a park


spotted this one on Boing Boing.

"An electromagnetic style of skateboarding is being born in which we attached a barcode scanner to a skateboard and sounded the scanned electrical signals🛹
(We send the signals to a speaker, no a cash register. Here we added on a tremolo effector to try it out. He have no experience in skateboarding. He wants to improve┃┃┃┃)


@ 北九州スケートボードパーク

Wednesday, May 12, 2021

MSHR - Liquid Conglomerate Presence Cycle

video by FACTmagazine

"MSHR is the audiovisual performance collective of artists Birch Cooper and Brenna Murphy, a collaborative project focused on the building and exploration of sculptural electronic systems, cybernetic sessions that are captured as AV compositions, installation work and live performances. For the last decade they have toured the world with their unique, improvisational live show, centered around self-built analog synthesizers that use feedback from light and movement to create dense sonic landscapes. This innately somatic approach to synthesis is complemented with reactive visuals that form city-like circuitscapes, which are themselves extruded from diagrams describing the signal flow of MSHR’s electronic musical systems.

“The physical design of our musical interfaces comes out of our installation practice. It is important for the interfaces to have a poetic logic and facilitate deep, intuitive playing,” they explain. “This work explores the intuitive and technical gradients between sonic and sculptural forms, using digital chip conglomerates run as analog circuits and open-source software to sculpt mutually resonant hyperobjects.”

Liquid Conglomerate Presence Cycle marks 10 years of their singular performance practice, serving as a multimedia document of both the sound and visuals of their live show. The film is split into four chapters, Symbiotic Vocal Weave, Knotted Presence Tracer, Light Pulse Formation and Liquid Hand, with each chapter featuring a different improvisation with its own cybernetic framework. Recorded during a residency at the sound art organization Sonoscopia in Porto, Portugal, Cooper and Murphy describe Liquid Conglomerate Presence Cycle as a “a prism for the live set,” one that showcases the improvisational, exploratory DNA of their performance practice.

“In performing this composition, we act as agents within a synthetic ecosystem,” they say. “Improvisation inside a light-audio feedback system feels like moving stones in a river, interacting with an environment to shift the flow of its elements. These recordings capture the sonic dimension of raw electricity surging through a morphing constellation of analog computer chips, flashing bulbs and extreme (in)human presence.”

“This exploration comes out of an ongoing fascination with the emergent complexity displayed by the interwoven biological, ecological and technological structures that frame our experience as embodied humans today.” they continue. “Constructing and exploring our own synthetic generative systems is our way of engaging with these unperceivable fundamental forms.” Editing glimpses of live footage into the refractive textures of their lysergic circuit landscapes, MSHR visualise the emergence of the human from within the machine.

As much a response to their unique approach to improvisation as it is to the complex spatial theory that is central to their work, the pair have developed a reactive visual language to interpret the insertion of somatic gestures into electronic forms. Over its four chapters Liquid Conglomerate Presence Cycle represents a comprehensive statement from the duo in this language, tying together the many facets of their varied audiovisual practice.

Liquid Conglomerate Presence Cycle will be released collaboratively by Sonoscopia and Ehse Records. The sounds Liquid Conglomerate Presence Cycle of will be available via Ehse Records on May 14."

Saturday, March 27, 2021

Synthesizer CV to X-Y Recorder Visual Art

video by MrCaliforniaD

"In this video, a 2 channel MIDI to CV converter is controlling a X-Y Recorder.

This technique is pretty straight forward. The X-Y Recorder is listening to voltages signals on its two X-Y axis. The voltages are taken straight out of the MIDI to CV converter's two channels.

I used a 2 track song. One melody moves the X axis on the plotter and the other melody moves the Y axis. The pen is drawing the resulting mix of theses to axis interfering with each other.

Special thanks to RAMCUR for his help and support in that project!"

Friday, January 29, 2021

The Radiotone X-Rays Synthesizer

video by Giorgio Sancristoforo

"Taking inspiration from the discoveries of William Crookes and Wilhelm Röntgen, the Radiotone is a one-of-a-kind music synthesizer that uses X-Rays to control and shape the sound. More info:"

Taking inspiration from the discoveries of William Crookes and Wilhelm Röntgen, the Radiotone is a one-of-a-kind music synthesizer that uses
X-Rays to control and shape the sound.

The Radiotone is divided in four sections:

High Voltage generation
X-Rays generation
X-Rays detection
Sound synthesis

You can find full details on the Radiotone X-Rays Synthesizer on Giorgio Sancristoforo's website here.

Giorgio brought us the experimental Gleetchplug line of synths, Berna and more.

Sunday, January 17, 2021

::vtol:: phason

::vtol:: phason from ::vtol:: on Vimeo.

"Phason – an audio object using rotating, perforated discs to create cyclical triggers (sequencer). The light passing from the console panel through fibre-optic light guides serves as the controlling agent. Light passing through the perforation hits the photo sensors, triggering the synthesizer. The object may be used as an instrument or an autonomous sound machine. To interact with it, can be use the built-in flashlight on flexible holder or any other small light sources (for example, flashlight on a phone).

The idea of the object is predicated to a large extent on Soviet experiments with optical sound, and also the automatic music boxes and caskets at the turn of the 19th-20th centuries, when disks were frequently used to encode sound and rhythms."

- axoloti core
- dc-motor
- optical fibers
- LEDs
- LDRs
- 2 channel sound system

Sunday, December 13, 2020

VOC-25 - A conceptual vocal synthesizer

Love Hultén

"VOC-25 is a conceptual vocal synthesizer based on the Axoloti Core and 25 sets of plastic teeth, each set representing a unique note on the keyboard.

Mechanical chatter may be reduced using external monitors instead of built-in speakers

For more info, see

VOC-25 take inspiration from an original concept created by Simone Giertz:"

Building a Musical Instrument Out Of Teeth
Simone Giertz

Thursday, December 03, 2020

LŪP - custom tape looper and phase pattern generator

Lomond Ziggy Campbell

"LŪP came about when I was commissioned to build a custom tape-looper instrument for a musician called King Creosote. I wanted the machine to embody the compositional ideas of the two esteemed New York avant-garde composers, William Basinski and Steve Reich. It plays 12 second tape loops which ‘disintegrate’ over time as the tape passes near to a rotating magnetic disc. This rotating disc also provides a clock and drives two eccentric cams which sends out ever-shifting phase patterns. You can hook the machine up to a modular synthesiser and process the disintegrating tape loops while generating Reichian phase shifting patterns. I made an album doing just that which will be available on 4th Dec from Bandcamp."

Also see The HARMONOGRAPH SYNTHESISER & How to Sequence Your Eurorack System with a Record Player by Lomond Ziggy Campbell

The making of LŪP - the instrument that wants to be Basinski and Reich

Thursday, November 05, 2020

Ikonika + MUNGO 'Nobody' - Made to express // Novation


"Watch @Ikonika perform ‘Nobody’ with immersive four-wall visuals by London artist Mungo.

Using Launchkey Mini, Ikonika teams up with London artist MUNGO to present a series of uncanny urban scenes, using choreographed strobing to light up familiar objects and quirky staged elements.

We have always been really passionate about doing anything we can to help enable expression, whatever that looks like. Made to Express is our four-part weekly series, with artist collaboration at the heart. Discover videos & interviews showcasing the talent of a handpicked selection of some of our favourite artists using Launchpad and Launchkey like you’ve never seen them before.

--- To discover more about creating the video:

--- To find out more about Launchkey Mini [MK3]:"

Monday, October 12, 2020

Forms - Screen Ensemble

Forms - Screen Ensemble from Playmodes Studio on Vimeo.

This one reminds me of a virtual ANS meets tracker. Details and pics follow:

"Forms -Screen Ensemble- is a generative visual music jukebox. Driven by chance and probability, this automata creates endless, unrepeatable graphic scores that are immediately transformed into sound by means of sonification algorithms. Images become sound spectrums, making it possible to -literally- hear what you see. The dream of Kandinski.

Each screen of this networked ensemble plays a particular instrumental role: Rhythm, Harmony or Texture.

Performed by this trio of automats, a visual music symphony evolves over time giving birth to unique sonic landscapes that will never be repeated again: from tonal ambient music to raging rhythms, surreal electronic passages or dance-floor beats.

Forms - Screen Ensemble was presented at 2020's edition of Ars Electronica festival in Barcelona, thanks to a grant given by NewArtFoundation, Institut Ramón Llull and


Monday, August 03, 2020

::vtol:: rbs-20 - Ruler Based Mechanical Synth

::vtol:: rbs-20 from ::vtol:: on Vimeo.

ruler bass synth, 20 centimeters

more info -

The device is based on the school experience of imitating bass lines at the desk and a fun way to disturb teachers. The instrument can be classified as an automated plucked contrabass monochord.

The pitch change is implemented by quickly changing how far the ruler is extended relative to the nut. Movements, plucks and presses of the ruler along the nut are driven by powerful and fast motors, which allows to play pretty fast lines. Two pressing motors can work simultaneously or selectively, which allows to choose the register: the range and amplitude of oscillations depends on the place in which the ruler is clamped before the pluck. Motors may not press the ruler at all, leaving the string / ruler "open". Thus, from one position of the ruler, you can get 4 notes that are different in pitch and duration: open (lowest), clamped by the upper motor (highest tone), clamped by the lower motor (low) and clamped by two at once. The sound is picked up by a small piezo element, which is getting hits by a ruler directly (the instrument has no resonator). The instrument is equipped with 12 touch keys, each of which can be reassigned to a specific length of the ruler. A small OLED display is used to select modes, tune notes, and indicate processes and states.

See the vtol label for additional unique creations.

Tuesday, March 03, 2020

::vtol:: drop

::vtol:: drop from ::vtol:: on Vimeo.
more info -

"The object is a small automatic device consisting of a Geiger counter (a device that registers ionizing radiation), electronics used to generate sound and control all processes, and also a hydraulic system consisting of a container with water, a set of pipes, a valve, and a pump.

The operating principle is that whenever an ionising particle activates the Geiger counter, the valve releases a water droplet, which falls into the container. This leads to a splash and oscillations in the water, which are registered by sensors. The amplitude of the waves and interference of numerous falling droplets are also detected by the system of optical sensors. All these data activate and control the sound synthesis system. In turn the sound constantly mutates and changes, owing to the non-linear nature of the emerging oscillations and the random falling of droplets. However, there are also some regularities: the lower the radiation, the calmer the behaviour of the system.

Conceptually, the device is a hybrid of a scientific instrument and musical installation, but is in actual fact a small fountain. The object is the embodiment of a perceptual paradox. On the one hand, the ionizing radiation (radiation) is destructive and frightening in its imperceptibility. On the other hand, it is constantly present in space and surrounds us (background radiation). At the same time, the sound, which is constantly dependent on the intensity of radiation, becomes a direct indicator of atmospheric developments, and to a certain extent is a safety indicator. The actual image of the object is sound and its mirror-image visual embodiment of water, the cyclical nature and mediation of sounds and processes induce a more contemplative mood (provided that there is no intense radiation).

The object was created with the support of the Aksenov Family Foundation."


Patch n Tweak
Switched On Make Synthesizer Evolution Vintage Synthesizers Creating Sound Fundlementals of Synthesizer Programming Kraftwerk

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