MATRIXSYNTH: Bell Labs


Showing posts with label Bell Labs. Show all posts
Showing posts with label Bell Labs. Show all posts

Sunday, September 10, 2023

Demo & Detail of a Switched Formant Synth Module Made From a 1960s Bell Labs Speech Synthesis Kit


video upload by ParadisoModular

"This video describes and demonstrates a novel synthesizer module I recently designed and built out of a "Speech Synthesis" Kit that was distributed to schools by Bell Labs in the 1960s. After walking through some basic background on the kit and how I adapted it, I demo the kinds of sounds this module makes."

You can find a handful of posts featuring Bell Labs Speech Synthesis here, and all Bell Labs posts here. Don't miss the Alles Machine.

Monday, February 06, 2017

Judy Jackson performs on the Alles Machine


Published on Feb 2, 2017 Timara Department

"Judy Jackson live performance (2016) on the repurposed Alles Machine in the TIMARA Studios, Oberlin Conservatory: http://www.timara.oberlin.edu

You can read information about the Alles Machine here: timara.con.oberlin.edu/jtalbert/Alles/alles.pdf

See the video of Laurie Spiegel playing the Alles Machine in 1977:"

Improvisation on a "Concerto Generator" (1977)

Uploaded on Oct 9, 2010 MuStudio

"Laurie Spiegel Playing the Bell Labs Digital Synthesizer, better known as the Alles Machine or Alice, was an experimental additive synthesizer designed by Harold G. Alles and Douglas Bayer at Bell Labs in 1977-78.

This composition was commissioned by Bell Labs and the Motion Picture Academy for the 50th anniversary of talking pictures. Working with the Alles synthesizer, with its extensive array of input and output channels for control, was a real pleasure after years of GROOVE's extreme restrictions. The interactive software I wrote for this composition recycles the player's keyboard input into an ongoing accompaniment. However, writing the software from a remote DEC PDP-11 computer (see also the PDP-11 FAQ and PDP Music Survey) in the new "C" computer language still undergoing frequent change, within a still-experimental UNIX operating system, without the control inputs or sonic output, under a tight deadline, while the Alles synthesizer hardware was still under construction, turned out to be quite an adventure.

It can orchestrate and perfome musicale scores as fast as a composer at its controls can think them up; create previously unheard musical sounds; and raise or lower the pitch of an instrument or human voice in real time-instantly-so that a man speaking into a microphone can be made sound like Donald Duck or Ezio Pinza. The machine divides sound into its frequencies and amplitudes, processing it un up to 200 million operations per sesond.

For more information look :
http://www.retiary.org/ls/
http://en.wikipedia.org/wiki/Bell_Lab...
http://timara.con.oberlin.edu/~jtalbe..."

Friday, November 25, 2016

RIP Jean-Claude Risset

Shepard-Risset Glissando


Jean-Claude Risset, a pioneer of electronic music, passed away on November 21. Many of you will recognize his Risset Tones, or Shepard Tones above as they were based on the work of Roger Shepard as referenced in this post: "Risset Tones (Risset tones are based on the work of Roger Shepard in the 1960's and the further developments made later by Jean-Claude Risset, RissetTones is designed to create an acoustical illusion. Perhaps best explained as the aural equivalent of the barber pole, the product of the RissetTones is a gliding tone which seems always to be moving either up or down in pitch while staying in the same general position.)"

He, of course, was known for quite a bit more:

The image to the left is from forestpunk on Music From Computer: "an exquisite repackaging of influential works from early computer music Jean-Claude Risset, spanning the years 1968 – 1985. It illuminates a fascinating intersection between old-world classicism, musique concrete, and synthesis."

Wikipedia has the following:

"Risset was born in Le Puy-en-Velay, France. Arriving at Bell Labs, New Jersey in 1964, he used Max Mathews' MUSIC IV software to digitally recreate the sounds of brass instruments. He made digital recordings of trumpets and studied their timbral composition using 'pitch-synchronous' spectrum analysis tools, revealing that the amplitude and frequency of the harmonics (more correctly, partials) of these instruments would differ depending on frequency, duration and amplitude. He is also credited with performing the first experiments on a range of synthesis techniques including FM Synthesis and waveshaping."

Below are two additional compositions by Jean-Claude Risset. His work and influence go beyond anything that can be captured in a single post. His influence can be seen in various posts here on MATRIXSYNTH. This post, as all posts, is here only to let you know he was a significant influence on our world. Be sure to see the full wikipedia and forestpunk articles above and of course, always research more on your own. There is an incredible world of work to explore out there.

Jean-Claude Risset - Computer Suite From Little Boy (1968)

Published on Jul 9, 2012 Sebastian H. M. Murdock

"Composer Jean-Claude Risset was a pioneer in the field of computer music and recipient of a great many honors for this music and research (especially in the area of sound synthesis). After studying the sciences, in addition to composition and piano with teachers like André Jolivet (Le Jeune France co-founder), Risset went on to work at Bell Labs, with Max Matthews, for a few years in the late '60s, working on applications that would imitate instruments and others sounds. He brought sound synthesis to Orsay in the early '70s, and Marseille and Paris -- to the Institute for Acoustic Music Research and Creation, with Pierre Boulez -- in the mid-'70s. He became IRCAM's computer music director from 1975-1979, after which he served as Director of Research at facilities including CNRS; Risset received the CNRS Bronze Medal in 1971, the Silver Medal in 1987, and the Gold Medal in 1999, for his work and related writings, such as his computerized sound synthesis catalogue of 1969. His other awards include the Dartmouth Prize (1970), first place in the Bourges Digital Music competition (1980), Ars Electronica Austria (1987), Grand Prix National de la Musique (1990), Musica Nova Prague (1995), and an Honorary Doctorate of Music by the University of Edinburgh in the mid-'90s. His best work spans decades and includes 'Sud' (1985), 'Aventure de lignes, Profiles' (1981), 'Mirages' (1978), 'Inharmonique' (1977), 'Musique pour Little Boy' (1968), and 'Fantasie pour Orchestre' (1963)."

Jean-Claude Risset - Invisible (1)

Published on Jul 16, 2015

Monday, October 10, 2016

The Secret History of the Vocoder


Published on Aug 20, 2014 The New Yorker

"The vocoder—the musical instrument that gave Kraftwerk its robotic sound—began as an early telecommunications device and a top-secret military encoding machine."

Wednesday, December 30, 2015

A Visit to Oberlin's TIMARA Program Featuring the Bell Labs Hal Alles & Other Vintage Synths

Laurie Spiegel Playing 1977 Bell Labs Hal Alles Synth

Uploaded on Jan 26, 2007 Laurie Spiegel

Above: a now classic video of Laurie Spiegel performing on the Bell Labs Hal Alles.


Mark Boyd of Audulus, Endangered Audio Research and Bimini Road met up with Peter Swendsen of Oberlin's TIMARA program to talk synth. Mark showed Peter Audulus, and Peter showed Mark TIMARA's collection. Included was the historic Bell Labs Hal Alles, the first realtime digital synthesizer; made famous by synth legend Laurie Spiegel. See the video above (1st posted here, and then here with a second video).

Pics include the Bell Labs Hal Alles, vintage Buchla & Music Easel, ARP 2600, Blue EML 200 & Silver EML 300 Manual Controller, STEIM cracklebox, and an EMS VCS3 Putney.

Monday, October 19, 2015

Vintage 1960's Bell Telephone Degraded Speech Synthesis Educational Tool Kit

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"This is a Vintage 1960's Bell Telephone Degraded Speech Synthesis Educational Tool Kit. The Case contains all items in the photos. Every thing you see is included.
Everything appears to be in mint condition. I don't know anything about these items and have no way to test them. Some items appear to be unused.

Kit includes all items in photos:
1 - Bell Telephone Laboratories Degraded Speech Circuit Board.
1 - Bell Telephone Laboratories Artificial Larynx Circuit Board.
2 - Bell Systems Labs Electronic Speech Synthesis Science Experiment #3, Dated 1963.
1 - Bell Telephone Laboratories “The Speech Chain” Book
3 - 1963 Computer Speech 33-1/3 RPM Record vintage with original sleeves: songs include: GREETINGS, BASIC EXAMPLES, AN HISTORICAL REMARK, HAMLET solilquy, BICYCLE BUILT FOR TWO unaccompanied, BICYCLE BUILT FOR TWO accompanied, COMPUTER DUPLICATES HUMAN VOICE, GOODBYE.
1 - Stack of various speech pamphlets.
1 - Speech Tape Cartridge.
1 - Control box.
1 - Lot of wires and speakers.
1 - Storage case."

Monday, July 06, 2015

Additional Info on the Vintage Bell Labs Digital Synthesizer by Hal Alles from Laurie Spiegel


See the update in this post. Scroll down to this pic when you get there.

Monday, June 15, 2015

Vintage Bell Labs Digital Synthesizer 1977 Demo Video by Creator Hal Alles


Vintage Digital Synthisizer 1977 Published on Jun 15, 2015 urcich

Roger Powell at 5:22. Further below is a video of Laurie Spiegel playing the synth. See the Bell Labs channel label at the bottom of this post for more.

It's fascinating to hear what the initial intent of this synthesizer was.

via Hal Alles on the Synergy list:

"Since a few people have expressed interest, I posted a video on youtube of a demo using the synthesizer I developed at Bell Labs.

This demo was made as a backup for a live demo for the celebration of the 50th Anniversary of Talking Motion Pictures.

Hence the references to the movie industry.

The live demo was done on the stage at the Palladium in Hollywood in 1977, so the backup was never shown.
It started life as studio video tape made a few days before the show, converted to 16 mm film, then later to VHS tape, then to DVD, and finally the digital version posted.

Very few people have seen this – I did not have a copy until 1995.

Hal Alles"

Laurie Spiegel plays Alles synth - temporary replacement

Uploaded on Apr 27, 2009 Laurie Spiegel

"This 1977 tape is one of the earliest examples of purely digital realtime audio synthesis. It manages to achieve an analog synth sounding quality, but it is entirely digital synthesis and signal processing.

The interactive software I wrote and am playing in this video recycles my keyboard input into an accompaniment to my continued playing, which is why I called it a "concerto generator". I use part of one of the keyboards for control data entry, and the small switches upper right to access pre-entered numerical patterns. The sliders are mainly pre-Yamaha FM synthesis parameter controls, for the number of harmonics and amplitude and frequency of the FM modulator and carrier that constituted each musical voice.

Until they restore the copy suffering from data corruption please look at this copy instead.

Comments can continue to be left on the original's page where there have been many views and comments views, here:

http://www.youtube.com/watch?v=K4T3eT...

Thanks for watching,

- Laurie"

Update via Spiegel's Reflections in the comments: "I've posted some additional info about the synth Hal Alles built that's featured here along with a link to more technical info. See my extended comment near the bottom of this page":

"I never heard this called "Alice" till the last couple years. Don't know when that name first surfaced.
A correction: This was at the time considered the world's first ***realtime*** digital (not "additive") synthesizer. Yes, it could do additive synthesis but was quite flexible as to how the oscillator could be used. I used them as FM pairs, with both the modulator and carrier of each FM pair being additive, with the number and amplitude of their harmonics controlled by the slide pots. (This video of me playing it shows is a rare example of pre-Yamaha DX-series FM synthesis.) The breakthrough was to do digital synthesis in realtime so it could be interactive. Prior to this technology, digital computers were not fast enough to produce audio in real time and it was not possible to do digital audio interactively.
There were 72 slide pots. (72 oscillators were mentioned above instead). The number of oscillators depending on how the components were programmed to interconnect. For the specifics of its synthesis architecture, please see Hal Alles's paper describing the system in Computer Music Journal, Vol. 1 #4, which you can find on my website at http://retiary.org/ls/obsolete_systems/Alles_synth_1977.pdf
The system was not dismantled as it says here, but donated to the Oberlin College Music Dept. For all I know it is still there. I'm not sure why Gary Nelson and the group there were not able to get it running. I had heard that it was dropped during the move, but alternatively, we programmed it remotely from (if I remember right) an LSI 11/45 computer in another part of the Labs. I don't know to what extent it could be programmed independently of an external computer with a compiler etc. installed, so that might have been a major hurdle for them. This was 1977 at Bell Telephone Labs, so the purpose of the system was never to make a marketable music system but to develop and test the new designs of its components, and I was under the impression a bunch of new patents resulted, The ideas built into this instrument were not lost to music though. Crumar created various synthsizers based on its internal architecture. I think (but am not sure because I never had direct experience with them) that those included the Crumar GDS and Synergy.
From the liner notes of my 'Obsolete System' cd:
This composition was commissioned by Bell Labs and the Motion Picture Academy for the 50th anniversary of talking pictures. Working with the Alles synthesizer, with its extensive array of input and output channels for control, was a real pleasure after years of GROOVE's extreme restrictions. The interactive software I wrote for this composition recycles the player's keyboard input into an ongoing accompaniment. However, writing the software from a remote DEC PDP-11 computer [..] in the new "C" computer language still undergoing frequent change, within a still-experimental UNIX operating system, without the control inputs or sonic output, under a tight deadline, while the Alles synthesizer hardware was still under construction, turned out to be quite an adventure.

It's also not necessarily true that only 1 composition survives from this instrument. Roger Powell also composed something on it I believe, though I don't know if he finished or recorded it. And I have a couple of reel-to-reel tapes I recorded on it that I haven't listened to since then (1977). It is possible that something on one of those open reels might be worthy of being considered additional music. At some point I will work up to transferring them to digital and find out."

Sunday, November 02, 2014

Laurie Spiegel: Grassroots Technologist


Laurie Spiegel: Grassroots Technologist from NewMusicBox on Vimeo.

"Electronic music pioneer Laurie Spiegel sees a lot of common ground between the seemingly oppositional aesthetics of folk traditions and the digital realm. But, as she explains when she spoke with Frank J. Oteri, the most important element in all of her music making is emotional engagement whether she's creating a computer realized algorithmic composition, crafting a short piano piece or orchestral score, or jamming on a guitar or a banjo. Video presentation and photography by Molly Sheridan and Alexandra Gardner. To read a transcript of the entire conversation, visit NewMusicBox."

Laurie Spiegel on MATRIXSYNTH

Friday, December 07, 2012

Laurie Spiegel Featured on Pitchfork - Intro on NASA's Golden Disk

"The experimental pioneer's groundbreaking work with computers in the 70s and 80s helped lay the foundation for many of today's electronic noise makers.

Probably the most remarkable thing about Laurie Spiegel is that a piece of music she made could be the first sound of human origin to be heard by extraterrestrial lifeforms. If aliens exist, of course. And assuming they have ears.

Spiegel's computer realization of a composition conceived back in the early 17th Century by the German astronomer Johannes Kepler is the opening cut on the Golden Record, a disc that accompanied both Voyager probes on their journey across the solar system and out into the great interstellar beyond in 1977..."

Read the full article on Pitchfork here.  Note the EMLs to her right.  The track that is floating in outer space?  "Kepler's Harmony of the Worlds" performed on the Bell Labs "computer-analog hybrid" below.  Don't miss vintage footage of Laurie performing on the system in this post. The track "Kepler's Harmony of the Worlds" was featured on Spiegel's "The Expanding Unniverse" posted here back in October.   It was the second to last track.  It's fascinating to think the message sent on NASA's Voyager probes opens with a synth.


Kepler's Harmony of the Worlds
video upload by Laurie Spiegel - Topic

Monday, October 22, 2012

Institute of RAI Phonology

Techstuff - Istituto di Fonologia della RAI

Uploaded by bizzarrieelettriche on Oct 6, 2011

"Manuale video di musica elettronica"

via Roberto Ladislau Santos on modular.br Facebook

Reminds me of the early RCA and Bell Labs electronic music studios.

Italian documentary.

Update via Amstrad in the comments:

"There´s a recent movie called Berberian sound studio, the director said to be inspired by this place when making the story. http://warp.net/films/berberian-sound-studio"

Saturday, October 06, 2012

Laurie Speigel - 3 Tracks From "The Expanding Universe" & The New Yorker


You can find the release here: http://www.unseenworlds.net/UW09/

via The New Yorker where you'll find the full article.

"The surprise Year of Spiegel continues as her landmark and long out-of-print 1980 LP 'The Expanding Universe' is being reissued for the first time on compact disc by the Unseen Worlds label. While the original LP ran at just over forty-five minutes (and had to cheat the long title track of some dynamic range in order to fit all the grooves on side two), the newly expanded “Expanding Universe” sprawls, in its physical form, over two compact discs, with a running time of two and a half hours. What is old on this reissue sounds punchier and punkier than do the ripped-from-vinyl MP3s that exist online. And what’s new on “The Expanding Universe” is as diverse-sounding and alive as any electronic music issued this year, even though all of these pieces were conceived on a computer-analog hybrid system stashed in a Bell Labs hallway from 1973 to 1979.

This device would be Max Mathews’s “Generating Realtime Operations On Voltage-controlled Equipment” apparatus, otherwise known as GROOVE. It was a hybrid digital-analog mechanism that was big enough to require multiple rooms. (Despite its being too unwieldy to take out for live performances, Spiegel once described it as “the ultimate synthesizer.”) A technical breakdown of the GROOVE setup can become pretty complex, but, in brief, the system was controlled from a room that held a console, a monitor, a three-octave keyboard, and a joystick operated by the user, all of which was separated by a glass window from a temperature-controlled room with a large DDP-224 computer, which was in turn linked up to a digital magnetic tape drive down the hall.

Read more http://www.newyorker.com/online/blogs/culture/2012/09/an-electronic-music-classic-reborn.html#ixzz28Xgbzz9w"

This one in via Karl. 

Thursday, June 16, 2011

Bell labs Speech Synthesizer



via this auction

"Hello, here we have a Bell Labs speech synthesizer, this used to be a kit experiment i believe from the 60's its made by the telephone company and it suppose to produce some tones, it has a microphone speaker, but i don't know if its complete or incomplete, i was planning to use it to add to my circuit bending instruments but never got into it.This kit comes with the instructions, the electronic components apparently are all already installed in the box.

This is a project for someone who has dedication and with some electronic knowledge, perfect for the musician who likes to experiment with some retro noises.It needs some work in order to make the tones"

Thursday, June 09, 2011

Max Mathews Featured in the New York Times Opinionator


"If the difference between 1911 and 2011 is electricity and computation, then Max Mathews is one of the five most important musicians of the 20th Century. – Miller Puckette"

"In 1957 a 30-year-old engineer named Max Mathews got an I.B.M. 704 mainframe computer at the Bell Telephone Laboratories in Murray Hill, N. J., to generate 17 seconds of music, then recorded the result for posterity. While not the first person to make sound with a computer, Max was the first one to do so with a replicable combination of hardware and software that allowed the user to specify what tones he wanted to hear." Full article on The Opinionator.
Max Matthews passed away on April 21, 2011.

This one in via Brandt.

Thursday, April 21, 2011

RIP Max Matthews


via Wikipedia:

"Max Vernon Mathews (November 13, 1926 - April 21, 2011) was a pioneer in the world of computer music.

He studied electrical engineering at the California Institute of Technology and the Massachusetts Institute of Technology, receiving a Sc.D. in 1954. Working at Bell Labs, Mathews wrote MUSIC, the first widely-used program for sound generation, in 1957. For the rest of the century, he continued as a leader in digital audio research, synthesis, and human-computer interaction as it pertains to music performance.

Although he was not the first to generate sound with a computer (an Australian CSIRAC computer played tunes as early as 1951),[1] Mathews fathered generations of digital music tools. He described his work in parental terms in this excerpt from "Horizons in Computer Music," March 8–9, 1997, Indiana University..."

Max Matthews, presiding over Bicycle Built for Two

YouTube Uploaded by davidjmerrill on Apr 29, 2007

"From the Computer History Museum, MaxFest2007: http://ccrma.stanford.edu/maxfest/"

Computer Music (Synthesizers, Synclavier) 1986 Pt. 1/3

First computer to sing - Daisy Bell

YouTube Uploaded by slavenr88 on Dec 9, 2008

"'Daisy Bell' was composed by Harry Dacre in 1892. In 1961, the IBM 7094 became the first computer to sing, singing the song Daisy Bell. Vocals were programmed by John Kelly and Carol Lockbaum and the accompaniment was programmed by Max Mathews. This performance was the inspiration for a similar scene in 2001: A Space Odyssey.

Daisy, Daisy, give me your answer do

I'm half crazy all for the love of you

It won't be a stylish marriage

I can't afford a carriage

But you'll look sweet upon the seat

Of a bicycle built for two."

Also see: Computer Music (Synthesizers, Synclavier) 1986 Pt. 1/3

via Keith

Sunday, February 20, 2011

1963 Bell System Analog SPEECH SYNTHESIZER Kit



via this auction

"This is a very cool vintage 1963 Bell & Howell Speech Synthesis Science Experiment kit. It's NOS, totally unused, and even comes in its original shipping box. Everything is in NM condition. This is an analog electronics kit that makes a simple vowel synthesizer. Could be a great platform for circuit benders or other DIY'ers to make a cool and unique sound generator of some sort. Please see pics for further details.

Please see my other auctions for more interesting items, and save on shipping if you win multiple lots."

via Pea Hicks of optigan.com

Update: New title and listing. This is actually from Bell Systems, not Bell & Howell as originally listed.


Tuesday, October 19, 2010

Bell System Technical Journal, 1922-1983


http://bstj.bell-labs.com/BSTJ/

"The scientific discoveries and technological innovations produced by Bell System research and engineering were critical not only to the evolution of global telecommunications but, more widely, they had a considerable impact on the technological base of the global economy and, indeed, on our daily lives.

Bell Labs is the source of many significant contributions, of course, in the area of telephony, but also in memory devices, imaging devices, system organization, computers and software technology, as well as acoustics, optics, switching, transmission, wireless and data communication....

With this posting of the Bell System Technical Journal from volume 1 issue 1 in July 1922 to the final issue published in December 1983, we are pleased to be able to open the vault of this knowledge to our global technical colleagues."

This one popped up on the AH list. You'll find a number of papers including "Synthesis of Voiced Sounds From a Two-Mass Model of the Vocal Chords" and "Thermionic Vacuum Tubes and Their Applications"

via cheater cheater:
"Page 57 and lead up on page 56: this is a tuned band pass filter with variable Q. You just need one tube, one variable capacitor, and one variable inductor. Works well up to "2,000,000 cycles".

Also see the next point on page 60: Feed-Back Amplifiers. Looks fairly interestingly like a ladder filter, don't you think? And uses resistances. This means: voltage control!!"

Update via Eric Barbour of metasonix in the comments: "No. It is not a 'ladder filter'. This was a very early article about tube amplifiers, and all the discussion focuses on their use in telephone installations, primarily as repeater amps."

Thursday, July 15, 2010

Laurie Spiegel and NASA's Golden Record


"Born in Chicago in 1945 she took a degree in social science before studying music at Juilliard specialising in Baroque and Renaissance lute. She then took a leap into electronic music and in the 1970s wrote interactive compositional software at Bell Labs and founded the New York University Computer Music Studio. She also became famous in rock circles for her music software for personal computers. Lauarie Spiegel's own electronic music is minimalist and deals with textures, not melody. Among her works in the 1970s was a piece using mathematical algorithms to make audible a set of laws of planetary motions devised by the 17th century astronomer Johann Kepler which he called the Harmony of the Planets, and it was this work which NASA chose to be part of 'The Golden Record' on board the Voyager space craft."

via Rhythm Divine where you'll find a full transcript and audio if you have WMP or Real Player.

Pictured: "Pioneer in the field of computer-generated music: Laurie Spiegel"

via @stretta

Update: be sure to see the comments in this post for more bits of info.

Thursday, April 15, 2010

Don Slepian Live

via Facebook

"Don Slepian is an internationally known electronic musician, recording artist, and concert performer. Described by Rolling Stone magazine as "one of the genre's major talents", Slepian's live electronic concerts have been sponsored by radio stations, scientific groups, computer societies and universities, and his recordings broadcast on National Public Radio via the syndicated program "Music From The Hearts of Space". A consultant on computer music for Yamaha International, Bell Telephone Laboratories, and Bell Communications Research, Slepian's technical articles have been published by the National Radio Institute and industry bible/magazine Electronic Musician. Appearing to effortlessly merge synthesizer technology with elegant classical stylings now for nearly four decades, Slepian's body of work has been described by The Newark Star Ledger as "...a dazzling smorgasbord of computer sonorities, all of them fascinating, some of them achingly beautiful...undisputably a master of his medium."

> http://www.donslepian.com
________________

DATE OF PERFORMANCE: Saturday, April 24

DOORS OPEN @ 7:30 PM / PERFORMANCE @ 8 PM

ADMISSION: $15 for advance/reserve seating, $18 at the door

FOR TICKET PURCHASE, DIRECTIONS & FURTHER INFO:
http://www.onethousandpulses.com"

All posts featuring Don Slepian. You might recognize the image in this post and the "steampunk" modular from them.

Monday, April 27, 2009

Laurie Spiegel plays Alles synth - temporary replacement


video upload by

YouTube via MusicMouse
"Concerto for Self-Accompanying Digital Synthesizer. The instrument is possibly the first realtime digital synthesizer, built at Bell Telephone Labs, NJ by Hal Alles and team, with C language software written by Laurie that processes the player's live input into an ongoing accompaniment that will continue to be played live against.

This is a legal copy uploaded by the owner of the original tape. The OHM DVD's video was taken from this.

For more info on see http://retiary.org/ls/obsolete_systems

For tech info on the synth see:
http://www.matrixsynth.com/blog/media..." [mirrored here]

You might remember the video from this previous post. The original video was suffering from data corruption so Laurie Spiegel uploaded the video again. Be sure to see the comments on YouTube here for more.

OHM on Ebay
OHM on Amazon
Look for The Early Gurus of Electronic Music - DVD and CD.
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