Equipment shown: Two Kaossilators, two mini Kaoss pads, a KP3 Kaoss pad, a Tom Bugs WOM synth, Chimera BC8, BC9 and BC16 synths, two Zoom PFX-9003 effects, an Eventide Modfactor, an Eventide Timefactor, a Dirty-Carter E.S.G.I synth, a portable Edirol mixer and a Zoom H2 for recording. No MIDI, keyboards, laptops or desktop computers were used.
Rhythms were generated by the two Kaossilators - going through the mini KPs, bass loops were generated by the KP3. The Chimera BC16 synth (LFO and ADSR) was voltage controlling the BC9 synth and the two Eventide stompboxes. All loop syncing and BPM matching was done on the fly using 'tap-tempo' on the Korgs and Eventides.
"A quick shot of the new Dirty-Carter Experimental Sound Generating Instrument while putting it through its paces. It's sitting next to a circuit-bent Korg Koassilator and a Bugbrand Postcard Weevil, the rest are listed in the Flikr tags column on the right. Sound and video clips to follow soonish... and it will be on sale later this year.
Tech details: The Dirty Carter Experimental Sound Generating Instrument uses a dual 4-stage shift register. Each register is controlled independently. Two oscillators are used per register: one as a clock, the other as input data that is cascaded through the four stages. The outputs from the stages are mixed together. A fast clock rate produces a crude form of wavetable synthesis, whilst a slow clock rate creates audible pulses and clicks. The clock speed and the data input’s frequency are controlled by touch electrodes/pads. By tilting the instrument, sound from both the 4-stage shift registers can be mixed together. Glitchy noise, deep drones and percussive peeps!
"A short video* of the new Dirty-Carter Experimental Sound Generating Instrument (E.S.G.I.) while putting it through its paces.
*My apologies for the thin sounding mono audio.
Tech details: The Dirty Carter Experimental Sound Generating Instrument uses a dual 4-stage shift register. Each register is controlled independently. Two oscillators are used per register: one as a clock, the other as input data that is cascaded through the four stages. The outputs from the stages are mixed together. A fast clock rate produces a crude form of wavetable synthesis, whilst a slow clock rate creates audible pulses and clicks. The clock speed and the data input’s frequency are controlled by touch electrodes/pads. By tilting the instrument, sound from both the 4-stage shift registers can be mixed together. Glitchy noise, deep drones and percussive peeps!"
"This is my new minaiture EMS Synthi AKS - unfortunately it doesn't produce any sounds. To give an idea of scale I've included an AA battery - this thing is small... but perfectly formed.
BTW: In the background is a much larger Synthi AKS fridge magnet." Synth magnets and stickers on Ebay [Note if nothing is listed check back later. You can find the permalink is on the MORE STUFF section on the right]
YouTube via AntiMusick. According to the Roland MC-8 Blog this was done with the MC-8. "Chris & Cosey's first single 'October Love Song' was released in 1982 by Chris Carter and Cosey Fanni Tutti, both previously members of industrial music pioneers Throbbing Gristle."
flickr by Chris_Carter_ 
