The video contains four jams after each other, and each jam uses only a vanilla C64 and a delay pedal. Nothing was rehearsed, so you might hear a mistake or two. Or a feature or three."
DUBCRT is a music album, interactive light synthesizer and remix gadget released as a Commodore 64 cartridge. With music and visuals from some of the most prolific experimentalists of the 8-bit scenes, DUBCRT taps into 1960s modernist forms, 1970s dub, 2000s glitch aesthetics, and 2020s sustainable computing. DUBCRT features:
• Eight songs ranging from ambient to IDM and drum n’ bass
• Visualisers that react to the music, and that are user-controllable
• A secret remix module that allows you to re-interpret all the music on the cartridge
All of this uses only 64 kilobytes – equivalent to 1.5 seconds of MP3-audio. This is possible thanks to clever use of resources, and by making all the graphics in PETSCII, the colourful and quirky ASCII-variant of the Commodore 64."
"West Kept Secrets Vol.1 is a collection of live improvised modular synth compositions inspired by the west coast synthesis perspective explored by composers like Morton Subotnick, Don Buchla, Charles Cohen and Todd Barton. Even though the compositions are influenced by the aforementioned composers, I embark on a sonic journey adding my own experiences and influences to this creative school of thought.
This project is made with Native Instruments Reaktor6 Blocks software and an analog modular synthesizer.
Each ensemble includes all the snapshots that were saved as I performed the patch plus a lot of snapshots not recorded on the project for you to explore.
This one in via Daniel Wilson: the album "draws attention to one of the strangest sound-making devices ever made - the under-researched Delawarr Multi-Oscillator (c.1962), which was designed to convert thoughts into clusters of frequencies. My research into this oddity has culminated in this release."
Video Description:
"Advert for the new release: Radionics Radio - 'An Album of Musical Radionic Thought Frequencies' on Sub Rosa (due August 5th 2016).
Radionics Radio is an electroacoustic and musical exposition of alternative tuning systems derived from frequencies submitted via the Radionics Radio app. All the sounds strictly originate from respective thought-frequency submissions and octaves thereof.
Further background info on this research-based project can be viewed here: [embedded below]
From press release:
'Daniel Wilson's Radionics Radio draws upon the fringe-science of radionics, with its invisible forces and psychic resonances, to spawn electroacoustic and electronic compositions employing very alternative tuning systems. Radionics' idea that thoughts can be represented as frequencies is vigorously explored on this new release through microtonal compositions which range from mutating drones to electronic sambas, with nods to Raymond Scott and Daphne Oram along the way.'
Radionics Radio was made possible through Sound and Music's Embedded programme and Resonance 104.4FM.
"Radionics Radio is a project by Resonance FM's Sound and Music Embedded Composer in Residence Daniel Wilson. It draws on the radionic idea that thoughts can be intuitively linked to clusters of frequencies. From this, it is possible to explore unusual alternative tuning systems supposedly embodying certain thoughts. The Radionics Radio EP will be released by Sub Rosa in the summer of 2016."
"A short EP made entirely with the LAB:1 Synthesizer by artist Immortal Beings. The LAB:1 was used as the sole sound source, with Valhalla Vintage Verb & Freq Echo along with a Korg KP3 used for effects.
LAB:1 Sessions by Immortal Beings is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
The LAB:1 Synthesizer is a 100% Analog 6 Oscillator Experimental Synthesizer. If features; 3 Audio Oscillators (with Triangle, Sawtooth and Square waveforms), 3 Low Frequency Oscillators (with Triangle and Square waveforms), a Voltage Controlled Low Pass Filter, Switches to X-Mod Oscillator One with Oscillator Two, and X-Mod Oscillator Two with Oscillator Three, Switches to Modulate LFO One with LFO Two, and Modulate LFO Two with LFO Three. Audio Oscillators can be free running or can be triggered via Buttons on the front of the unit. Level/Depth and Frequency Pots for each Oscillator. Solid Oak End caps and metal case.
Designed to sound thick and raw with little regard for stability and "clean" waveforms, expect to explore strange audio territories with the LAB:1.
Powerful modulating drones to melodic rhythm sequences to spacey sound effects to total audio chaos.
Easy to use with with all controls available at once but hard to restrain by nature, the LAB:1 is for those who welcome the unexpected.
The low pass filter is an interesting one. When the resonance is cranked to max, it’s designed to drive the filter hard, causing a nice fuzzy saturation, it can also be used as a sort of high pass filter to create some unique formant like sounds.
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."
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.
"Kaitlyn Aurelia Smith will release EARS, her newest album of vibrant synthesizer explorations mixed with orchestral instruments and vocals, April 1st on Western Vinyl.
'In recording Ears, my intention is to take listeners on a sonic motion ride through a futuristic jungle. I am inspired by the works of Moebius and Miyazaki - in particular the film Nausicaä of the Valley of the Wind – and I wanted to play with visceral sounds that pull one between feelings of beauty and dissonance, chaos and order. My hope is that, on a straight through listen, in a darkened room, on a loud stereo, Ears will inspire a rich visual narrative in listeners' minds.'
You might remember Kaitlyn Aurelia Smith from previous posts here on MATRIXSYNTH. According to Kaitlyn, "My primary instrument is the buchla music easel, I also used on that track - an arp 2600, synthi, OSCar."
Historian Thom Holmes is back with yet another excellent historical blog exploring the use of the Moog Modular in early recordings. This time he is highlights the advent and evolution of synthesized space music, featuring the music of Douglas Leedy, Edward Zajda, Syrinx, Nic Raicevic, Klause Schultz, Tangerine Dream, Popul Vuh, and more.
Read the blog, and listen to several audio examples here."
"Set the video to 720 for maximum sound/video quality.
This is an introduction to a mini album (Blip Synth) exclusively using the Meeblip SE as a sound source aside from the drums and simple effects. The album will be released winter 2015.
I wanted to show people that digital synths are very unique and all have their own sound. The Meeblip Se is an 8 Bit Digital synth with a very aggressive, gritty, and constantly surprising sound. I was able to get it to produce many motifs of modern electronic music and even some throw backs from the past. The album was made in Reason syncing the Meeblip Se to the programs sequencer. Basic effects were used like EQ, Distortion, Reverb, Delay and Vocoding.
I am releasing this album under my moniker "Sequencer" keep an eye out for a new Sequencer, non Meeblip affiliated, album coming out soon. I produce all art and music.
"This track is from Light In The Attic Records' release of Kurt Stenzel's original score to the documentary 'Jodorowsky's Dune.' It is available for purchase on vinyl & CD here: http://bit.ly/1iMSNRE.
Available: November 13th, 2015
This is the soundtrack to the story about the greatest film that never was.
Jodorowsky’s Dune tells the tale of cult filmmaker Alejandro Jodorowsky’s unsuccessful attempt to adapt Frank Herbert’s classic sci-fi novel, Dune, to the big screen. Composer Kurt Stenzel gives life to a retro-futuristic universe as fantastic as Jodorowsky’s own vision for his Dune–a film whose A-list cast would have included Salvador Dalí, Orson Welles, and Mick Jagger in starring roles and music by psychedelic prog-rockers Pink Floyd.
Building upon director Frank Pavich’s idea for a score with a 'Tangerine Dream-type feel,' Stenzel lays out a cosmic arsenal of analog synthesizers that would make any collector green at the gills: among other gems are a rare Moog Source, CZ-101s, and a Roland Juno 6, as well as unorthodox instruments like a toy Concertmate organ and a Nintendo DS. 'I also played guitar and did vocals,' says Stenzel, 'some chanting… and some screaming, which comes naturally to me.' The score also features narration by Jodorowsky himself. As Stenzel notes, 'Jodo’s voice is actually the soundtrack’s main musical instrument–listening to him was almost like hypnosis, like going to the guru every night.'
This highly-anticipated soundtrack LP was sequenced and mixed by Stenzel with the listener in mind and flows through a 'four-sides' LP approach. 'I wanted it to play like the records I grew up with, where every side was a journey.'
First time release
Liner notes by composer Kurt Stenzel
Original artwork by Nick Stewart Hoyle
2xLP housed in a deluxe gatefold Stoughton tip-on jacket
Includes download card for full album
LITA.net pre-order edition:
- 'Cosmic Swirl' Wax limited to 1,000 copies (2 per customer)
- Silver foil numbered jacket
- Includes folded 27″×40″ poster with artwork by Nick Stewart Hoyle"
Moving forward, the Synth Albums label will be used instead of Synth CDs. If you get to this post in the future be sure to check out both labels if you do not want to miss anything.
Also, in the past only single synth albums got the label. Now that Patreon Supporters of the site can submit their music for posts, their album releases will get the label as well.
MATRIXSYNTH Patreon supporter Dave Bessell has a new album out titled 'Black Horses of the Sun'. The release also features Ian Boddy. Limited to 500 copies, it is available on CD and digital download. The following is an excerpt on the release for the MATRIXSYNTH archives. You'll find the full track list and an additional demo at DiN (also linked above).
"Black Horses of the Sun is the latest release from Dave Bessell. This artist will be familiar as one of the founding members of analogue supergroup Node but has also in recent years released a number of fascinating solo recordings (including Morphogenic with Parallel Worlds DiN41).
These new tracks build on the distinctive detailed atmospheric style of previous releases and add a more melodic focus that gives the proceedings an extra layer of interest this time around. As with previous releases nothing is quite what it seems in the sonic worlds created here, melodies frequently take an unusual twist and the tracks can sometimes take off at an unexpected tangent. The tools are predominantly analogue hardware with a sprinkling of contributions from custom written software alongside treated guitar. The atmospheres range from mysterious to darkly foreboding with occasional more relaxed flashes of ambient sunlight. Overall there is often a widescreen cinematic sense of scale which would not be out of place in a film soundtrack. An eclectic variety of stylistic influences flicker through this music, from classical to industrial, Berlin school ambient to jazz, to the Eno, Fripp & Bowie collaborations of the Berlin years through to echoes of psytrance. All make their appearance from time to time.
On this release Dave Bessell is joined on a track each by Ian Boddy (well known mainstay of the UK analogue synth scene), Lyonel Bauchet (French TV and Film composer and all round Buchla wizard) and Liam Boyle (incredibly versatile soundtrack composer and Beatles fanatic). Each add their own distinctive contribution to the proceedings. Overall a varied and intriguing release which never falls into the predictable patterns of analogue electronica, combining masterful evocative sound design with intricate arrangements, this will repay repeated listenings and is not to be missed."
"Today Moog Music announces the release of 3 Impressions, a practical application of Moog electronics, produced and composed by M. Geddes Gengras. 3 Impressions is a 3 song EP that serves as an exploration of analog effects modules and process-based sound design. Gengras utilized various Moog analog effects and synths such as the Moog Sub Phatty Analog Synthesizer, MF-104Z Analog Delay, MF-105M MIDI MuRF and a MF-107 Freq Box for the recording.
The announcement of Gengras' EP coincides with Moog Music's announcement of the discontinuation of two of the Moogerfooger analog effects pedals used in the recording: the MF-105M MIDI MuRF (est. 2009) and the MF-107 Freq Box (est. 2007). Moog plans to continue building a limited quantity of units at their factory in downtown Asheville while parts and materials last. The MF-105M and the MF-107 have found their way into countless studios and stage rigs around the world. Users include Arcade Fire, Panda Bear, Dan Deacon, John Frusciante of the Red Hot Chili Peppers and Joey Santiago of the Pixies. If you are interested in purchasing one, please visit an authorized Moog dealer.
M. Geddes Gengras' work is described as being 'based in modular synthesis, comfortably straddling a variety of forms and remaining rooted in a deep affinity for the limitations of analog electronics and a keen ear for timbral manipulation.' His extended exploration of the modular inter-connectivity of Moogerfooger analog effects on 3 impressions is a testament to Bob Moog's vision of creative expression through control voltage."
"This is truly a Dada Musical Masterpiece of witty and inventive moog sounds from what we can approx to the year 1968.
Just imagine that year and this innovation made with that sense of absurdness and trickery that only Roger can do."
Available on Amazon & eBay. You can find additional tracks on YouTube.
"Instrumentation: 90% Nord Lead 4 Synthesizer (performance instrument with all original signature sounds), 5% Octatrack (performance sampler for original field recordings/samples and on-the-fly sequencing), and 5% Tenori-On (performance instrument and on-the-fly sequencing)
Music inspired by Louis and Bebe Barron
Artistic process inspired by Joan Miro, Clyfford Still, and Darwin Grosse
(c)(p) 2015 Mark J. Mosher (BMI) - CC-BY-NC"
"Marooned is an original cinematic electronic soundscape. I think of it as a score for a film yet to be made. An Earth ship crashes on a massive moon and the only hope for the crew's survival is making it across a harsh landscape to an alien outpost for a first, and uninvited, encounter.
This soundscape is in the same universe and is a prequel to my alien invasion concept album series Reboot, I Hear Your Signals, and Fear Cannot Save Us. Unlike the first three albums which contained shorter composed and often groove-based songs, this album contains a single long-form recording combining electronic tonalities and abstract expressionist music.
This work is an example of live sonic storytelling and was recorded in one pass (with no prerecorded sequences, overdubs, or edits) after weeks of improvising and rehearsal.
2 ON THE SURFACE
2:08 Regaining Consciousness
4:14 Being Scanned
3 OUTPOST IN SIGHT
5:06 The Traverse
4 ENTER THE OUTPOST
7:10 Point of No Return
8:04 Solving the Airlock Puzzle
8:53 Moving Through the Darkness
9:30 The Trap
5 CAPTURED
10:47 March to Chamber
6 INSIDE OUR HEADS
15:00 Extracting Secrets of Man and Machines
7 DREAMING OF HOME
18:22 Extracting our Dreams
credits
released 28 April 2015
Written, performed, programmed, and produced by Mark Mosher
Cover photo and design, liner notes, and graphical score by Mark Mosher
Instrumentation: 90% Nord Lead 4 Synthesizer (performance instrument with all original signature sounds), 5% Octatrack (performance sampler for original field recordings/samples and on-the-fly sequencing), and 5% Tenori-On (performance instrument and on-the-fly sequencing)
Music inspired by Louis and Bebe Barron
Artistic process inspired by Joan Miro, Clyfford Still, and Darwin Grosse
"I performed 'Marooned', a my 20-minute cinematic electronic soundscape in 7 movements, on April 26th, 2015 at the Textures Ambient Showcase at the Mutiny Information Cafe in Denver. This is 3m30so video of excerpts from that show shot with a GoPro I had on a bookcase behind me.
Marooned is an original cinematic electronic soundscape. I think of it as a score for a film yet to be made. An Earth ship crashes on a massive moon and the only hope for the crew's survival is making it across a harsh landscape to an alien outpost for a first, and uninvited, encounter.
This soundscape is in the same universe and is a prequel to my alien invasion concept album series Reboot, I Hear Your Signals, and Fear Cannot Save Us. Unlike the first three albums which contained shorter composed and often groove-based songs, this album contains a single long-form recording combining electronic tonalities and abstract expressionist music.
This work is an example of live sonic storytelling and was recorded in one pass (with no prerecorded sequences, overdubs, or edits) after weeks of improvising and rehearsal.
B&W photo in video by Chris Sessions chrissessions.com/"
"Groovezilla was my response to the challenge of FAWM 2015, to create a full 14 track album in the 28 days of February. The album was done mostly on the iPad with diverse apps, but there's a good bit of my DIY analog modular in there, as well as my trusty old Hohner electric piano. It is a mix between experimental music and grooves, and the theme is classic monsters. Enjoy!"
"This is a brief album of brief pieces. In literature I am drawn to short forms, especially those of Jorges Luis Borges and Italo Calvino. In poetry: haiku.
Here are thirteen short analog synthesizer explorations created over a three week period of experimenting with a small Buchla 200e Electric Music Box.
For those interested in the modules, here they are: 266e, 259e, 261e, 281e, 292e, 291e, 285e, 206e, 222e
All the vignettes are self-generating patches. All the etudes are layered, mixed and manipulated from various self-generating pieces using Logic Express and various echo, delay and reverb plug-ins, mainly SoundToys and 2C-Aether.
The Buchla 200e is an amazingly deep, complex, and sensitive instrument. These little experiments are only my personal glimpse into the Buchla universe.
To hear other uses and sonic revelations in the world of the Buchla 200e please search the internet for works by Richard Lainhart, Alessandro Cortini, Giorgio Sancristoforo, Charles Cohen, Don Hassler, Joe Pascarell, and of course Don and Ezra Buchla to name just a few.
「Oscillodriver (Play the KORG DSN-12)」がKORG USA公式KORG DSN−12宣伝用動画コンテストで見事グランプリに選ばれたのを皮切りに、同曲がKORG DSN-12 Super Users Official Compilationに収録、その後KORG DSN-12オフィシャルイベントOscilloscope Fridayでは驚愕の「生」演奏で来場者を卒倒させた19歳の若きトラックメーカーPAINTVOXのファーストフルアルバム！
