Showing posts with label xenakis. Show all posts
Showing posts with label xenakis. Show all posts

Thursday, May 16, 2019

Wavehole Approach to Granular Synthesis Using Xenakis Screens

For those interested, see here.

See here for previous posts featuring Xenakis and granular synthesis.

What or rather who is Xenakis? Via Wikipedia: Iannis Xenakis - "Xenakis pioneered the use of mathematical models in music such as applications of set theory, stochastic processes and game theory and was also an important influence on the development of electronic and computer music. He integrated music with architecture, designing music for pre-existing spaces, and designing spaces to be integrated with specific music compositions and performances."

From the site linked above:

"The wavehole approach to organising acoustic particles is an adaptation of the Xenakis screen. In Formalized Music Xenakis discusses various methods with which to organise grains of sound. A Xenakian screen is not unlike Gabor’s Matrix (1946). The representation is musical and interpreted differently from the theoretical signals presented in Gabor’s communications literature. The Xenakis screen (Fig.1), is a two dimensional grid which, exists in one moment of time."

If you look below you will see an image of multiple Xenakis Screens over time. The screens remind me of a mix of wavetable and granular synthesis. In a wavetable you have a table of multiple waveforms you can morph through. In granular synthesis you typically have a sample or audio you can morph through and manipulate over time either grabbing a "slice" of the audio or particular "grains" within a slice or slices of audio - almost like a hybrid of additive and subtractive synthesis but working with a given audio sample.

"Each cell of the screen grid, houses a silence or grain event. Thus, each screen can have, depending on its resolution, a sparse or dense population of grains. The population is referred to as a cloud. Each occupied cell has a frequency ∆F and gain ∆G parameter. A Xenakis cloud is the grouped grain topology in one screen at a given moment in ∆t as in Fig.2."

Friday, June 01, 2018

Granular Synthesis EXPLAINED

Published on Jun 1, 2018 White Noises

[You can find the active links for below on YouTube]

∿ Nebulae sample libraries:

∿ Andrew Huang's video featuring Crusher X:

∿ Support these videos on Patreon:

∿ Download my music on Bandcamp

∿ G r a n u l a r T o o l s ∿

∿ Nebulae v2:
∿ Clouds:
∿ Ableton Granulator II:
∿ Fruity Loops Granulizer:
∿ Malström:
∿ Absynth:
∿ Crystallizer:
∿ Crusher-X

∿ L e a r n M o r e ∿

Thursday, May 31, 2018

Why We Bleep Podcast 005: Olivier Gillet - Mutable Instruments

Published on May 31, 2018 mylarmelodies

You can find a handful of posts featuring Olivier Gillet's chocopoolp for Palm OS here.

"Thanks to episode sponsors Signal Sounds: ! This month I'm very excited to present a chat with perhaps one of the most mysterious and well-respected characters in the Eurorack world - Olivier Gillet of Mutable Instruments.

In it we discuss his route into music technology, his module development process, the importance of daydreaming, and some quite surprising facts regarding the size of his company, and much more besides.

More at:

Tuesday, December 27, 2016

The QU-Bit Nebulae Alternate Instrument Walkthru by LavLab

Published on Dec 27, 2016 HostileSlothRecords

"Not for the casual observer/listener....
A brief sampling of several of the alternate instruments
available for use on the QU-Bit Nebulae.
More on those here:"

Monday, March 14, 2016

N/O/D/E 2016: conférence Olivier Gillet (Mutable instruments)

Published on Mar 6, 2016 Node Rendez-vous

Olivier Gillet presentation at the recent N/O/D/E 2016 event and conference.

"« Comprendre l'aléatoire et ses applications à la musique

Conférence d'Olivier Gillet (Mutable Instruments) donné le samedi 30 janvier 2016 à Pôle Sud, Lausanne, à l'occasion du N/O/D/E 2016, rendez-vous des curiosités sonores, autour de la thématique "algorithmes et big data"

Existe-t-il différents types ou degrés d'aléatoire ? Comment le décrit-on, le mesure-t-on ? Dans cette conférence, le concepteur de synthétiseurs Olivier Gillet vulgarise différents concepts mathématiques (continu/discret, distribution, indépendance, bruit, chaîne de markov) qui permettent de mieux saisir les différentes formes de hasard qu'on peut mettre en œuvre dans une composition musicale, que ce soit à l'échelle des notes d'une partition ou de la matière sonore elle-même. Chaque concept est illustré interactivement par des programmes python ou puredata, et ses applications musicales (que ce soit dans une composition de Xenakis ou dans les entrailles d'un module eurorack) sont présentées.

plus d'infos sur"


"Understanding the random and music applications
Conference Olivier Gillet (Mutable Instruments) given Saturday, January 30, 2016 at the South Pole, Lausanne, at the N / O / D / E 2016, appointment of sound curiosities, around the theme 'Big Data and Algorithms'
Are there different types or degrees of randomness? How do we describe the do we measure? In this conference, the designer Olivier Gillet synthesizers popularizes various mathematical concepts (continuous / discrete, distribution, independence, noise, Markov chain) to better understand the different forms of chance that can be implemented in a musical composition , whether to scale notes of a score or sound material itself. Each concept is illustrated with python interactively or puredata programs, and music applications (whether in a composition of Xenakis or in the bowels of a eurorack module) are presented."

Thursday, December 03, 2015

Datach'i - Grain de Folie

Datach'i - Grain de Folie from Joseph Fraioli on Vimeo.

"No external computers or hardware were used in this performance.

A patch built around the new 'Grain de Folie' ZDSP card by TipTop Audio.

The melody starting at :40 seconds is the TipTop Audio ZDSP running the "Grain de Folie" card which is processing Mutable Instruments Elements thats being sequenced by the Circadian Rhythms and z8000 with voltage quantization by the Intellijel µscale. The program used is #6 "Six Grains Stereo". Modulation to grain sizes 1 and 2 coming from the Modcan Quad LFO.

///// from the manual /////

Granular Synthesis uses small slices of sounds (‘grains’) to compose new sounds from existing material. By combining multiple grains of differing lengths, amplitude, pitch and speed creates very characteristic sounds of modern music.

Wednesday, November 25, 2015

Tiptop Audio Announces Granular Effects and Time Fabric Pitch Cards for the Z-DSP

Grain de Folie

"Granular Synthesis uses small slices of sounds (‘grains’) to compose new sounds from existing material. By combining multiple grains of differing lengths, amplitude, pitch and speed new sound are created which are often very different from the original sound recorded in. Xenakis claims to have invented the technique and indeed his ‘Analogique A-B’ [see the embed below],composed of tiny tape splices of pure tones, is credited as the first piece of granular music bacon 1959.

In the context of the Z-DSP, a block of memory is set to hold digital samples for playback: the Z-DSP has one second of memory for the audio used in processing. From this audio buffer the grains will sample and modify smaller sections for playback. The number of grains in the process determine how dense the overall output sounds. these programs have 3, 4, or 6 grains for playback. Each grain plays from a random point in the audio buffer and have an independent envelope controlling their duration. The envelope time is the ‘grain size’ parameter in many of the programs.

The French phrase for the cartridge is “Grain de Folie” which could be translated as “seeds of madness”, but in French “grain” also translates to “grain”, and “madness” evokes the strange disassembling/reassembling granular process. Also, “avoid un grain de foil” is a typically French expression to describe people behaving in a non conventional way, thus a fitting play on words quite nicely describing the unpredictable nature of this set of algorithms."

Time Fabric

"“It fucks with the fabric of time!” Tony Visconti describing Pitch Shifting to Brian Eno and David Bowie in 1976. That not so subtle description does quite neatly sum up what the Pitch Shift programs on the ‘Time Fabric’ card do!

Pitch shifting in the Z-DSP uses a technique called ‘rotating tape head’ delay lines named after pioneering tape based experiments in Germany in the 1960s. The tape heads move at speeds independent of the tape playback path and two heads are crossfaded to make a continuous output capable of beautiful pitched delay effects, harmonization and smooth reverbs.

These pitch shifting algorithms are much like the earliest digital pitch shifters released. Sounds similar to the Eventide H910, AMS 15-80 (with Pitch board) and Publison DHM 89 can be achieved. These programs are intended more for pure effects rather than the complex multiple harmony lines later devices and plugins became known for producing. Chords from single VCOs can easily be made using the ‘Interval’ programs on the card though.

Using a Z3000 to clock the Z-DSP, complete chaos from the delay lines and pitch shifting emerges, creating great and unexpected new sounds. Modulations the stereo pair of analog VC-Feebacks animates the time and distance of the pitch shift opening up these algorithms for additional control from CV and audio signal alike."

Iannis Xenakis ‎– Analogique A et B

Published on Dec 2, 2014 Polyphonie X

"Format: 4 × CD, Compilation, Boxed Set Country: France
Released: 2011 Genre: Electronic, Classical Style:
Contemporary, Musique Concrete

Analogique A et B
Tape – Iannis Xenakis

Analogique A Et B: Recorded 1958/1959 GRM Paris. ℗ 1964 GRM under license to Classics & Jazz France, un label Universal Music France (label d'origine : Philips)
Composed By – Iannis Xenakis"

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  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!

Friday, July 10, 2015

La legende d'Eer - Iannis Xenakis- instrumental version by IRE ensemble

La legende d'Eer - Iannis Xenakis- instrumental version by IRE ensemble from dautrescordes on Vimeo.

Deborah Walker (cello)
Hélène Breschand (harp)
Franck Vigroux (electronics) [Buchla Music Easel]
Kasper Toepllitz (bass computer)
Philippe Foch (percussions)

Premiere @ Bruits Blancs festival november 20th of 2015 - Anis Gras, Arcueil, France

Sound an spatilization by Zac Cammoun
Video by Gregory Robin

Sunday, June 07, 2015

The Story of Cybernetic Serendipity Music - The World's First Compilation of Electronic Music

Published on Oct 13, 2014 The Vinyl Factory

"The Institute of Contemporary Arts & The Vinyl Factory present Cybernetic Serendipity Music, the world's first compilation of electronic music, reissued on vinyl for the first time since it was originally released as part of the ICA's groundbreaking robotics exhibition Cybernetic Serendipity in 1968.

Click here to order a copy:

The exhibition documenting the original Cybernetic Serendipity show is on at the ICA from 14 October to 30 November 2014. For more information, visit the ICA’s website:

Thank you to Peter Zinovief [EMS], Russell Haswell, Yuri Pattison and Juliette Desorgues for their contribution to this film.

Filmed by Anoushka Siegler, Kamil Dymek, Pawel Ptak and Luis Muñoz"

Vinyl Tracklisting:

Side A
1. Lajaren Hiller and Leonard Isaacson - Illiac Suite (Experiment 4)
2. John Cage - Cartridge Music (excerpt)
3. Iannis Xenakis - Strategie (excerpt)
4. Wilhelm Fucks - Experiment Quatro-Due
5. J.K. Randall - Mudgett (excerpt)

Side B
6. Gerald Strang - Compusition 3
7. Haruki Tsuchiya - Bit Music (excerpt)
8. T.H. O'Beirne - Enneadic Selections
9. Peter Zinovieff - January Tensions
10. Herbert Brün - Infraudibles

Saturday, November 22, 2014

The Room of Sound

The Room of Sound from musi_arch santacecilia_sapienza on Vimeo.

"From March 5 to 20, 1977, in the Rome National Gallery of Modern Art was held from the 14th Festival of Nuova Consonanza, an association of musicians and composers congregated around Franco Evangelisti, responsible for the practical organisation of the Festival was Vittorio Consoli, engineer, music lover and enthusiastic investigator of the relations between space and sound. For 15 days in the main concourse of the National Gallery, experimental studies were made on the interaction between space and music and between musicians and computer, using compositions by, among others, Mauro Bortolotti, Domenico Guàccero, Aldo Clementi, Franco Evangelisti, Luigi Nono, Alessandro Sbordoni, Edgard Varèse, Leo Küpper and Giorgio Nottoli. The concourse of the Gallery is an exceptionally reflective space, totally non-musical. A huge acoustic dome made up of 100 loudspeakers, fed by the same number of audio channels, was created by Vittorio Consoli, with invaluable assistance from Leo Küpper, and wrapped up in a cloud of coloured aerostatic balloons, which were not fully inflated, and which gave the hall the acoustic properties required and also lent to the event an extraordinary sense of festivity surrounding the musical experimentation; this spirit can perhaps still be seen in the old black and white photos of the event and is still visible in the image we have of the main protagonists – Franco Evangelisti, Leo Küpper and Vittorio Consoli. Given the date, this was no virtual experiment in spatialisation, but a real-time musical event: the sounds, generated by an impressive analog computer, could be transmitted towards each of the loudspeakers and switched from one to another by a hand-made mixer. The most famous precedent for all this was, of course, the Philips Pavilion at the 1958 Brussels Expo, the masterpiece of Le Corbusier and Xenakis, animated by the Poème Electronique of Edgard Varèse. However, the most striking precedent was without a doubt the musical sphere constructed for the 1970 Osaka Expo by Karlheinz Stockhausen. Here the composer established the iconic quality of contemporary absolute music, an icon which subsequently symbolically adorned his grave monument. The project we are presenting here, the Stanza del Suono (Room of Sound) can be seen therefore to follow the path of a great contemporary music tradition; today we can avail ourselves of the innovations of computer technology, which allow us to organise the emissions of sound in space in a genuinely contrapuntal fashion, as Vittorio Consoli would say. The spatial evolution of the sounds thus becomes part of the decisions that the composer arranges within his creative system, to quote Schumann. The musical scores are able to not only specify precisely the limitless paths through space traced by the sounds, but also to envisage the ‘unknowns’ involved in the immediate, real-time interaction between sound and space, and between the musicians and the computer program. In this way, this new project of ours is not merely a place for listening to music, but also a place for creating and processing music in a continuous interplay between, space, music, sound, musicians and audience. The project aims at producing a new, long-term, functional acoustic and spatial device that can be employed by all
those engaged in electro-acoustic music research. It was built upon a body of work consistently carried out at the Conservatory of Santa Cecilia in Rome, in its Department of Electronic Music, up till now directed by Giorgio Nottoli, and is the result of a close collaboration with two Departments of Rome Sapienza University: the Department of Architecture and Design, under Piero Ostilio Rossi, and the Department of Architectural History, Design and Restoration, directed by Paolo Fiore. The idea of setting up a permanent cooperative research area between musicians and architects, on the theme of ‘Music and Architecture’, and of including it in the agenda of Emufest, the International Festival of Electro-acoustic Music, originated in 2011 in the insights and enthusiasms of composer Fabio Cifariello Ciardi and architect Luca Ribichini...[...]"

via Francesco Synth Meeting Mulassano on The MATRIXSYNTH Lounge

Saturday, August 23, 2014

Noyzelab Ulamizer II Cellular Automata Sequencer & MANIAC - Prototype Cellular Automata Module

Image of Noyzelab's Ulamizer II Cellular Automata Sequencer. You'll find more pics and details at Noyzelab here. Below are videos featuring Noyzelab's MANIAC, a prototype cellular automata generative music hardware module. If you are not familiar with Cellular Automata, check out this article on wikipedia. There have been numerous apps and hardware to feature the concept for seemingly random sequences (click here for numerours posts featuring Cellular Automata - you might be surprised).

via Noyzelab: "Since the early experiments by contemporary composers such as Iannis Xenakis, interest in the use of Cellular Automata (CA) in music has dramatically increased. ULAMIZER II is a prototype of a CA music module, designed to be part of the Noyzelab studio environment for both modular and MIDI synthesizers. This module design has now been integrated into my MANIAC / Arthur development systems"

Uploaded on Jan 30, 2012 noyzelab

"MANIAC - a prototype cellular automata generative music module in a eurorack case.

composite video out, MIDI in/out, PS2 keybd, stereo audio out, 8 cell gates out, clock in/out, sundry control switches, USB programmers port at rear

Module is playing a Yamaha FS1R synthesizer via the MIDI out"

MANIAC NEW CV interface + uTonal

Published on Apr 16, 2012

"quick vid test of MANIAC with a new panel of 8xcv in & 2 x cv out + 2 microtonal oscillators all on the same module. cv outs are going to filter and eg attack rate. uTonal osc's are being driven directly from CA states and 2 CV knobs controlling the mapping."

Saturday, June 28, 2014

mika vainio & franck vigroux live @ le generateur 3

Published on Jun 28, 2014 Compagnie d'autres cordes·1 video

"Vermona mono lancet, Moog, Octatrack, Akai vx90, Electribe ESX"

And one more from Franck Vigroux:

Franck Vigroux's "2024" video by Fabien Zocco from The Wire Magazine on Vimeo.

"Watch a video made by Fabien Zocco for musician, label runner and festival curator Franck Vigroux's track, '2024' exclusive to The Wire.

Speaking with Brian Morton in The Wire 364, Franck Vigroux – while influenced by GRM and composer/philosophers like Bernard Parmegiani, Xenakis, Penderecki and Morton Feldman – describes himself as part of a generation of composers in France 'who’ve been trying to regenerate music theatre or hybrid forms. I can’t really analyse my ‘philosophy’, but I am particularly obsessed by the intrinsic nature of sound, which surprises me constantly. So I spend my time in the studio searching for sounds, using all sorts of machines and devices. For instance, I’ve just finished a record where I simply played an old guitar through an amplifier with very little additional in the way of effects but with a range of tones and overtones [accordages] – which then become the object of meticulous research.'

Alongside curating Les Instants Sonores music and arts festival in Mende, southern France and the White Noises festival in the Paris suburb of Arcueil, since 2003 Vigroux has run the D’Autres Cordes label, releasing work by Samuel Sighicelli, Elliott Sharp, Matthew Bourne and others. Vigroux also regularly collaborates with vocalist Ben Miller as Transistor, video artist Antoine Schmitt as Tempest and with Reinhold Friedl and Mika Vainio.

Vigroux and Reinhold Friedl’s Tobel is released by La Muse En Circuit. Les Instants Sonores takes place 11–15 June.

Wednesday, January 23, 2013


"W I N D C H I M E S ELECTRONICS is Amanda Eicher and Yasi Perera making things that seem to depend on mass means, with the help of many collaborators, among them Thomas Buckler (web and graphics), Chris Cohen (accounting), Randall Fontes (state) and Walter Funk (waveforms)."

Yasi worked with Don Buchla & Associates.  W I N D C H I M E S current project is what they call "a light harmonizing time house".  The following is captured for the archives here.  Click through above for the animated gif and of course the rest of the site.

"It generates a single signal, suitable for both lighting and audio, in resolution of detected/imagined stimuli taken in by its touch and light sensors. It attempts to follow the circadian light-time around it and contribute to the harmony of its local time.

The visualization at left shows the kitten-sized cast-plastic structure, built to hold shoji paper screens. The patterned windows diffuse light from a complex of LEDs and electronic filters designed to behave like moving post-'black body' flame.

The pattern of illumination is, filtered differently, available at an 1/4" audio output, ready to drive an instrument amplifier. The audio is optionally emitted combined with sub-audio control signals, which can be demodulated to use later in the signal path by future modulation-aware signal processors packaged in 'stompbox' format.

The top, snooze bar, is a silver zigzag - capacitive touch sensor and CdS light sensor synthesizing touch and light information into a microprocessor-mediated response.

The Light Harmonizer is sensitive to touch-kinds: lightness of touch, timing of approach, and motions across and around. Unfinal attempts at categorical perception. First touches dim the light briefly, then it comes back in viscosity. Regular patterns of touches, it tries to predict and continue. ALSO 'day' to 'day': say, touches you give at lunch - every lunch - even if not regular per our usual clocks, are taken, speculatively, as regularities. Deviations from your regular lunchtimes, shown back in flushes, noticing what is astral weeks, what is dim weeks, when is the decade of french revolutionary 10 day weeks. In searching, we keep the memory sparse; without many bits, we find salience in action.

Its illumination varies also at frequencies we may hear, so at the audio output, fingers thump: bass drums, chimes, 100 metronomes' granular synthesis: embers, wind-through-trees, -through-chimes. We establish a circular heieracrchy of sound types: percussion, arrayed algorithmically, then stochastically, until, being noise, they form the elements of other drum sound syntheses. This carries on early work in computer music by Paul Berg, Herbert Brün, Arun Chandra, Rich Gold, S. R. Holtzman, G. M. Koenig, and Iannis Xenakis, among others, exploring sound manipulation at the machine instruction level as compositional. A physical platform for the exploration of seminumerical algorithms (Knuth's term) in relation to experience- both the experiences of music, and lived time. We take 'seminumerical' to pertain to aspects of postulation beyond Knuth's computer-scientific notion of 'hardware', into pertinence of form. Peter Naur displays this connection in examining problems, tools, and people as mutually constitutive.

We hope to take time as a place to display and collect user interface, generating informational 'persistence' in time itelf as a basis upon which to 'communicate'. 'Persistence in time' implies an expanded notion of rhythm, as qualia, consistent with classical concepts."

Tuesday, September 04, 2012

Krell Orchestral Piece

"A live looped Buchla 200e improv riffing-off of my Krell Muzak patch
Echoes of Xenakis and Takemitsu et al"

Sunday, July 08, 2012

IanniX Test with Ableton Live and Wavestation VST

YouTube Published on Jul 8, 2012 by chrisstackvideo

"I just downloaded IanniX (for free) and wanted to see if I could get it talking to something. It worked! Learn more at"

via iannix:

"IanniX is a graphical open-source sequencer, based on Iannis Xenakis works, for digital art. IanniX syncs via Open Sound Control (OSC) events and curves to your real-time environment."

Monday, March 19, 2012

Live at the Graham Foundation, Madlener House, Chicago, IL, March 10th, 2012 ; presented by Lampo.

Update: the original video for this post (via kwf on Vimeo) appears to have been removed from Vimeo. Above is a playlist of the event from seijinlee on YouTube.

SAT MAR 10 8pm
Graham Foundation
Madlener House
4 West Burton Place

At long last, Keith Fullerton Whitman makes his Lampo debut. To mark the special occasion, he offers the U.S. premiere of "Rhythmes Naturels," created at the legendary INA-GRM studios, plus a live modular synth improvisation.

Alors, last October Whitman spent a week in Paris, commissioned to develop a new piece for François Bayle's Acousmonium, an 80-speaker sound system designed in 1974 for the Groupe de Recherches Musicales. Pierre Schaeffer formed GRM, a studio and collective, in the late 1950s to encourage the development of electronic music. Members included Luc Ferrari, Iannis Xenakis, Bernard Parmegiani, among other lions; in the late 1960s Bayle became its director. For a whelp like Keith, the residency was "a life-long dream come true." And, he says, "The piece turned out exactly as I hoped."

Here, he'll do his new work in a 4-channel mix. Here, he talks about the residency, etc.

Keith Fullerton Whitman (b. 1973, Bergen County, N.J.) is a composer and performer obsessed with electronic music, from its mid-century origins in Europe to its contemporary worldwide incarnation as digital music. Currently he is working towards implementing a complete system for live performance of improvised electronic music, which incorporates elements from nearly every era. He has recorded albums influenced by many genres, including ambient music, drone, drill and bass, musique concrète and krautrock. He has recorded and performed using several aliases, of which the most familiar is Hrvatski. Today most of his work is recorded under his real name. Whitman lives in Cambridge, Massachusetts."

Monday, August 15, 2011

IanniX graphical open-source sequencer

A sneak preview… from IanniX on Vimeo.

"A sneak preview of the new version of IanniX…

IanniX is a graphical open-source sequencer, based on Iannis Xenakis works, for digital art. IanniX syncs via Open Sound Control (OSC) events and curves to your real-time environment.


Un petit aperçu de la nouvelle version de IanniX…

IanniX est un séquenceur graphique open-source, inspiré des travaux de Iannis Xenakis, destiné à la création numérique. IanniX synchronise via Open Sound Control (OSC) des événements et courbes vers votre environnement temps-réel.



Project manager : Thierry Coduys (
Development : Guillaume Jacquemin (
Web & identity : Matthieu Ranc ("

Monday, October 25, 2010

EMS. VCS3. MK1.mp4

YouTube via QURAD33 | October 24, 2010

"Vcs3 improvisation at CCMR(KSYME).G.Xenakis center.

( sound comes through internal speakers and recorded with a mobile phone)"

Wednesday, June 25, 2008

Studio für Elektronische Musik Köln

YouTube via Moogulator

"The Studio where Stockhausen, Xenakis and others recorded their pioneering Electronic Works 1951 and later. Shots are from my visit in 2008 in Cologne (Köln, Germany) 24.6.08"

Studio für Elektronische Musik Köln Part 2

links to video files on

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

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