Video Tours of Vintage Analog & Digital Synth Shops in Japan

Published on Dec 18, 2014 ED電音頻道 E.D.Music Channel

Playlist:
1. Analogue Synth Museum Tour ~ Five G @Harajuku, Tokyo, Japan 2014 (Part 1)
2. Analogue Synth Museum Tour ~ Five G, Japan 2014 (Part 2)
3. Analogue Synth Specialist Shop Tour ~ Five G Music @Tokyo, Japan 2004

BGM: 'Randomness' by Timmy Lok
*Special thanks to:
Five G from Tokyo, Japan.
Copyright: E.D. Music Co.

Analogue Synth Gallery Tour ~ Echigoya Music, Japan 2014

Published on Dec 21, 2014

Analogue Synth Gallery Tour ~ Echigoya Music, Shibuya, Tokyo, Japan 2014
BGM: "Zeus" by Timmy Lok + Eddie Hui
*Special thanks to:
Echigoya Music from Shibuya, Tokyo, Japan.
Copyright: E.D. Music Co.

Analogue Synth Shop ~ Miyaji Wurly's @Tokyo, Japan 2014

Published on Dec 23, 2014

"*Special thanks to:
Miyaji Wurly's and Yukihiro Kanbe.
Copyright: E.D. Music Co."

Pro-Music Shop Tour ~ Rock On Music @Shibuya, Tokyo, Japan 2004


Published on Dec 27, 2014
BGM: "Randomness" by Timmy Lok
*Special thanks to:
Rock On Music, Tokyo, Japan
Copyright: E.D.Music Co.

Analogue Synth Shop Tour ~ Andy's Music @Shimo-Kitazawa, Japan 2004

Published on Dec 27, 2014

BGM: "Randomness" by Timmy Lok
*Special thanks to:
Yukihiro Kanbe, Andy's Music, Shimo-Kitazawa, Japan
Copyright: E.D.Music Co.

Pro-Music Synth Shop Tour ~ Junction Music @Tokyo, Japan 2004

Published on Dec 27, 2014

BGM: "Randomness" by Timmy Lok
*Special thanks to:
Abe Takashi, Junction Music, Tokyo, Japan
Copyright: E.D.Music Co.

New SYNTH-WERK Modules & Systems Based on Classic Moog Designs

SUPERBOOTH promo video here.

In via SYNTH-WERK:

"New Modules from SYNTH-WERK…

SW921, SW921A, SW921B… like the original, no compromise in design.

New Systems from SYNTH-WERK

THE SPIRIT OF TRUMANSBURG M3 2VOICE

SW SYNTHESIZER MODEL 10

SW SYNTHESIZER MODEL 12"

Details on the systems below.

CLICK FOR MORE »

Wolfgang Flür's E.D.Music Channel…….More Interviews and Synth Demos to come!

Published on Jun 20, 2015 ED電音頻道 E.D.Music Channel

Trailer video for Kraftwerk's Wolfgang Flür's E.D.Music Channel with some synth spotting & some synth greats.

"Stay tuned with E.D. Music Channel
More interviews and gear demos are coming…
Copyright: E.D.Music Co.
Special thanks: Peter Zinovieff, Isao Tomita, Wolfgang Flür, Hideki Matsutake, CEvin Key, Russell Haswell, Hisashi Saito, Galcid, Doravideo, Risa, Dave Skipper, Kenichi Hata"

Analogue Synth Noise Machine by JMT Synth from Osaka, Japan. Demonstrated by Timmy Lok @TFOM 2014

Published on Dec 11, 2014 ED電音頻道 E.D.Music Channel

Festival Organizers:
Kenichi Hata & Dave Skipper
Synth Manufacturer:
Masuda of JMT Synth
Demonstrator: Timmy Lok
*Special thanks to JMT Synth,Kenichi Hata & Dave Skipper
Copyright: E.D. Music Co.

Synths in TV and Film

Note: some of the videos below have been pulled from YouTube, but I'm keeping mention of them up as a reference that they are out there.

Let the page load before scrolling - it's a long one.
Be sure to see the Synth Movies list and see the Synth Movies and Synth TV and Film labels for more.

1. Close Encounters of the Third Kind
Synths: ARP 2500 played by Phillip Dodds, head of ARP Engineering, Yamaha CS-?.


2. Fame Synths: ARP 2600, MOOG Minimoog

CLICK FOR MORE »

Kawai / Teisco SX240 with Tauntek OS & New Memory Battery

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

via this Reverb listing

Full Tuantek info & specs below.

CLICK FOR MORE »

New SYNTH-WERK Model 15 Modular System Coming to SUPERBOOTH19

New 5U/MU format modular system from SYNTH-WERK.

A follow-up to their Model 10 and Model 12 posted here.

The will be at booth H352 at SUPBERBOOTH19.

And the details:

SW MODEL 15 SYNTHESIZER FOR STUDIO AND STAGE

Powering up a SYNTH-WERK is not about switching on – it’s about letting an outstanding instrument come to life!

Masterly handcrafted in Munich, Germany with respect and dedication to a beautiful mind.

SW907A
SW995
SW904A
SW902
SW902

SW921A
SW921B
SW921B
SW923
SW921
SW911
SW911

SW CP3 Mixer
SW Reversible Attentuator
SW CP Multiples&Attenuators
Power Switch

Weight: approx. 18 kg
Width: 46 cm
Depth: 21 cm, plus 4 cm cover
Height: 63,5 cm


The SYNTH-WERK Model 15 can serve you in many ways:

IN THE STUDIO
Make your Model 15 the center of your recording studio and upgrade your modular synthesizer setup with a sound that cre- ated legends. Except for phone-plug-size 5U-modules are by the way fully compatible and patchable to Eurorack Systems, so it ́s not about adding another niche, it’s about expanding your own musical eco-Model and let it grow.

ON STAGE
The SYNTH-WERK Model 15 is a powerfull performer, longing to be used live on stage. Whether you will use it with a sequenc- ing-unit or a keyboard, be assured to have some outstanding sonic possibilities right there at your fingertips. Playing this won- derful instrument is more like talking to an old friend, analogue to that time and space being second-tier – so: enjoy!

The Synthesizer 15 build from 1974 on, equal to its numbered 12 and 10 predeces- sor, was a landmark of craftsmanship.

Likewise its forerunner, the SYNTH-WERK Model 12 is considered an extraordinary example of a supreme and compact com- bination of 5U-tools with explicit portability in mind. Every single unit is composed from a careful selection of the finest prime parts available. At heart it relies on our latest achievement in successfully recre- ating the versatility of the 921 Oscillator in every aspect imaginable, resulting in a SW921A Control Unit combined with two SW921B-Oscillators, alongside an indepen- dent SW921 module.

Compared to the puristic design and mu- sical rawness of its ancestor, the SYNTH- WERK 921 unfolds its capabilities likewise in a much more sophisticated and grownup manner, accompanied by increased tonal flexibility. This is mainly obtained by careful observation of the original build and meanwhile rethinking the whole circuit to produce a VCO that sounds as good as the original. Therefore we respectfully integrat- ed only highly accurate parts and authentic NOS parts, following the original circuit design without any compromise!

The units are extended by a classic SW903A Random Signal Generator as well as the voltage controllable famous lowpass Ladder Filter model SW904A which imparts essentially every audiosource imaginable with its unique character.

More sound sculpting possibilities are implemented with a SW907A Half-octave Filter module that is capable to come up with some structural and flexible formant shaping, not at least due to some integrated custom made high-class inductors. Besides dynamic modulation the two SW911 ele- ments can be used to describe the contour and envelope of the resulting sound by targeting the SW902 Amplifier or as well controlling the SW904A Lowpass-Filter. Regarding attack and decay times you can choose from the same luscious bandwidth like its reference from two milliseconds up to ten seconds.

It is worth mentioning, that you can decide to go for a custom configuration containing the advanced SW914 Fixed Filter Bank, a MIDI/CV Interface or any other configura- tion you desire. The SYNTH-WERK Model 15 ships perfectly embraced in a tolex cov- ered replica of an original Moog Style trav- el-enclosure with front lid and an integrated well-spaced custom power supply unit.

Synth Basics - Fundamentals - Gaia SH-01

Published on Dec 21, 2012 Ed Diaz·82 videos

"In this series of videos I wanted share some of how I breakdown the basics of synth programming. I'm not focusing on any of the usual nerd speak associated with this topic, but more of a down to earth explanation. I hope it is easy for you to understand and therefore learn from.
Take care,
-Ed.

Playlist:
Synth Basics - Fundamentals - Gaia SH-01
Synth Basics - Strings - Gaia SH-01
Synth Basics - Bass - Gaia SH-01
Synth Basics - Synth Lead - Gaia SH-01"

1985 PPG WAVE 2.2 DIGITAL ANALOG SYNTHESIZER KEYBOARD SN 01322

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

via this auction

"For sale is this vintage incredibly rare and absolutely fantastic sounding 1980s PPG Wave 2.2 digital/analog hybrid synth. This extremely rare synth, serial number 01322, was made in Germany by Palm Products GmbH and is regarded as being one of the finest synths to incorporate digital samples controlled by an analog interface. The Wave 2.2 is considerably more rare than its Wave 2.3 successor, and though they appear to be similar, are actually quite different. Synth enthusiasts and keyboard connoisseurs alike will both recognize just how rare this synth is, as very few of these units were manufactured. Recently serviced by the tech whom originally serviced and imported these in the ’80s, Ed Miller, this synth works perfectly and is studio ready!
This PPG Wave 2.2 incorporates digital samples of wavetables while utilizing analog VCA, as well as analog VCF sections. The Wave 2.2 also features; an oscillator capable of generating over 2,000 single-cycle 8-bit analog waveforms, a digital control panel with a more complex editor than previous versions, MIDI implementation, and an 8-track sequencer utilizing pitch automation, loudness, filter cutoff, waveforms and much more.

Originally inspected by PPG authorized service technician Ed Miller of syntheisizerrepair.com when first imported, this synth includes a complementary service and clean bill of health from Miller himself. Used by David Bowie, Depeche Mode, Stevie Wonder, and an ever-expanding list comprised of the best recording artists of all time, this is a magnificent instrument is worthy of the best studios, as well as, the ownership of even the most accomplished synth collectors."

CLICK FOR MORE »

the mighty M.F. / 130 patches for Arturia Microfreak (vid 2)

video upload by Jexus (sounds-for-synths.com)

"My thoughts on the synth & how to buy: https://sounds-for-synths.com/arturia...

No talking demo. All patches custom-made by Jexus. As you all know the Microfreak is monoaural and has no onboard FX. It sounds slightly different and more “stereo” in my demo because some of the sounds have been EQ-ed, and many of the sounds have a chorus and / or stereo delay & reverb applied (but nothing that would dramatically alter the original timbre of the synth like phasers, flangers, pitch shifters, etc). The wet / dry ratio is usually 20:80 (or 20% mix in other words), reaching 50:50 in a few patches (I used the simplest presets on a Lexicon MX). I wanted to make the sounds nice for the ear but I also wanted show the true sound of this synth without too much embellishment or experimentation.

Here's a short FX dry/wet comparison to give you an idea what the patches sound like without FX:"

Jexus WC Olo Garb · My Microfreak FX dry / wet comparison

CLICK FOR MORE »

Roland GR-700 Turbo PLUS Guitar Synthesizer - w/ DT-200 Programmer & Extras

Note: links to listings are affiliate links for which the site may be compensated.
GR-700 Turbo capabilities | GR-700 Turbo PLUS capabilities posted here

Playlist:
01 Roland-Ready GR-700 Turbo Synth - Modern 13-Pin Input
02 Roland-Ready GR-700 Turbo Synth - Restored VCF/VCA 80017a Voice Chips
03 Roland-Ready GR-700 Turbo Synth - Expanded Patch Memory - From 64 to 320 Patches
04 Roland-Ready GR-700 Turbo Synth - Final Release Version 5 Roland Factory Software
05 Roland-Ready GR-700 Turbo Synth - Filter, Edit, Response Controls
06 Roland-Ready GR-700 Turbo Synth - Final Version Voice Board with NEW Lithium Memory Battery
07 Roland-Ready GR-700 Turbo Synth NEW End Panels!
Roland G-505 Metallic Red Vintage Analog GR-300 Guitar Synthesizer Controller w/ VG-99

via this auction

One of it’s kind Roland GR-700 Turbo PLUS, built by Wayne Joness in Los Angeles, CA.

The capabilities are amazing and best explained and demo-ed by Wayne himself – watch his Youtube Playlist [above] explaining both the Turbo and PLUS fearures found the GR-700 for sale."

CLICK FOR MORE »

Percussa Synthor Digital Modular Synth Demo #1

Published on Aug 16, 2015 Percussa AudioCubes

"Quick demo of the new Synthor digital modular synth for the Percussa AudioCubes.
https://www.percussa.com/2015/08/16/h...

Synthor runs on Macs and PCs as a standalone audio application and communicates wirelessly with the AudioCubes hardware interface. When cubes are placed next to each other, new patch connections are created, and moving cubes closer and further away change parameters such as modulation depth. Synthor is a free download for all AudioCubes users! Learn more at http://www.percussa.com/"

Some additional info via the Percussa News Letter:

"You can see different synth cubes in action: red/orange cubes are wavetable oscillators, purple one is a step sequencer, green ones are LFOs (frequency and amplitude modulation) and the cyan one is a toggle noise cube (white noise with variable frequency). The wavetable oscillator cubes are set to do frequency modulation, the step sequencer does frequency modulation, as well as the noise cube. There is also a waveshaper and state-variable filter (SVF) which are not demo'ed in this video but will be in upcoming videos.

The Synthor synth runs inside MIDIBridge so there is no additional software needed beyond our MIDIBridge software. There is an audio settings control panel now in MIDIBridge which lets you select the sound card driver to use (CoreAudio, ASIO, etc) as well as the sample rate and buffer size to use. The processing in Synthor is all done at audio sample rate, so you have really fast and smooth modulation possibilities and low-latency.

In Synthor, you first assign a synthesizer module to a cube (oscillator, LFO, noise gererator, etc) and decide what other cubes it can modulate. As soon as you’ve done that, you can start putting cubes together to create a modular synth patch.

As soon as cubes are placed next to each other, a connection is made between the synthesizer modules linked to the cubes. So for example, if you configured two cubes to be oscillators, one oscillator will start to modulate the frequency of the other oscillator (you can also set it to modulate amplitude if you prefer). It works the same way when you place multiple cubes together: even if you are only placing one cube next to a group of cubes, you will be creating multiple connections! All without needing real hardware patch cords. Try doing that in a traditional hardware modular synthesizer with only two hands.

Synthor also automatically scales parameters as you move cubes closer together: If you have two oscillator cubes next to each other, the modulation depth will change depending on the distance between the cubes. This is done completely automatic without you having to configure anything. Parameters can also be set using sliders in the Synthor user interface if you need to set them to specific values.

Last but not least, the signal output of each of the synthesizer modules is automatically connected to the brightness of the colours of the cubes. This way you can see how fast your LFOs are running for example, or you can see the steps of the step sequencer as they play back.

I’ve also built a default patch into Synthor / MIDIBridge, such that when you start the software and connect your cubes, they are all set into Synthor mode and a synthesizer processor has been linked to each cube (oscillator, noise, etc). This way you can immediately start making sound with the cubes without having to configure anything (don’t forget to set up your sound card - you only need to do this once). If you customize the default setup of Synthor you can save your settings and load them using the LOAD/SAVE buttons in MIDIBridge.

Bonus tip: if you go play live with Synthor, you can load different settings files for different songs, and each of those settings files can assign the cubes to different synthesizer modules! This is like having 10 different modular synth setups with you which you can instantly switch to within a few seconds. Impossible to do with a traditional hardware modular synth.

I need your feedback on the above video

I’ll be adding more synthesizer modules to Synthor over the next month. I have plans for granular processors, mixers, delays, etc. It’s going to be super exciting working on this. Please reply to this email and send me your feedback about the above video!"

You can contact Percussa at https://percussa.com/contact

Continuum & Osmose with AJH Modular - playing | Superbooth 2024

video upload by Anthony Marinelli Music

"Meet us in a bungalowdorf at Superbooth 2024 to hear the AJH Synth RadioPhonic (Modular Synthesizer) controlled by two of the most expressive controllers in the world - The Expressive E Osmose and Haken Continuum Fingerboard. You'll also meet my special guests Continuum Fingerboard inventor Lippold Haken, EaganMatrix Sound Engine inventor Ed Eagan and expert performer on these two instruments Joshua Madoff. Welcome to the world of ultimate expression of synthesizers with the slightest movement of your fingers to digitally control many parameters of a powerful analog sound!"

00:00 Cold Open - Josh Madoff playing AJH Modula with Osmose in unison mode
00:43 Intro - AJH Synth "The Radiophonic"
01:43 Intro - Lippold Haken, Ed Eagan, Joshua Madoff
02:18 Ed Eagan performs on the Osmose
03:06 The AJH Synth patch
04:38 Joshua Madoff performs on the Osmose
05:58 unison mode
07:30 Ed Eagan performs on the Continuum
08:57 Joshua Madoff performs on the Continuum
11:08 Thank you from Superbooth 2024
11:31 Summary
11:45 Logo (theme music)

https://www.anthonymarinellimusic.com

NOISECOLLECTIVE Modular Synth Masterclass Workshop with Gino Robair

NOISECOLLECTIVE is having a modular synth masterclass workshop with Gino Robair. The event will be held at the Mothership club in Turin Italy. You can pick up tickets at NOISECOLLECTIVE here. The following are the details on the event, first in Italian, then English further below.

IL WORKSHOP
Il workshop prenderà in esame una serie di tecniche da utilizzare durante l'improvvisazione con sintetizzatori modulari in un contesto di gruppo e pone le basi per un concerto la sera stessa, con i partecipanti al workshop.

Il workshop si concentrerà sulla sensibilizzazione e l'ascolto globale durante l' improvvisazione, esplorerà strategie di patching per ottenere la massima varietà ed evitare la stagnazione.

Verranno presi in esame concetti come primo piano / sottofondo, solista / supporto, controllo gestuale, e intenzione / non-intenzione.

Particolare interessante per i musicisti che utilizzano sintetizzatori modulari perché spesso la tentazione con lo strumento è quello di sovrapporre semplicemente suoni.

Gino utilizza strategie, concetti e spunti basati sul suo lavoro e sul lavoro di John Zorn, Butch Morris, ROVA Sax Quartet, Anthony Braxton e Frank Zappa.

I partecipanti devono portare un loro strumento. Possono utilizzare qualsiasi synth analogico, anche se il workshop è prevalentemente incentrato sui sintetizzatori modulari.

CLICK FOR MORE »

RIP Michael Jackson

As you've all probably heard by now, the King of Pop has passed away. I wasn't expecting to put a post up as all posts have to be about the synths, however it just didn't seem right to not put something up, and I did find a bit of fascinating synth history, when you think about it, below.

I remember growing up listening to bits of the Jackson Five and later Michael Jackson. My sister was in love with his music, and Elvis Presley. The perfect match. I remember when Elvis was the King of Rock and Roll and Michael announced himself as the King of Pop. I wondered if it would stick. I remember when Off the Wall came out followed by Thriller. I remember staying up to watch the Thriller video with my sister, and her telling me how it was the most expensive video ever made. I thought it was crazy how long it would be. I recently remember watching that odd video of inmates somewhere in Asia performing Thriller, a hundred plus inmates in orange, prison garbs, all in sync. All crazy memories in time, all full of life and energy. That is the one thing Michael Jackson was to me - a man filled with wonder and energy. I will always remember him as that somewhat magical character who never lost that bit of childhood wonder. I'm sure he has influenced me in ways I have yet to realize, some bits I'm coming to realize just typing this. Pretty crazy... pretty amazing... I hope he is well wherever he is. He did bring wonder to life.

As for the interesting bit of synth history and the image from Thriller. The following is a list of the synths used and the players (via micke in this VSE thread). It is an interesting look at what synths were used on THE best selling album of all time. RIP Michael. RIP The King of Pop. It definitely stuck.


"Here's a rundown of the all (?) the synths used in the making of Thriller

Yamaha CS-80
Roland Jupiter 8 (x3)
NED Synclavier II
DK Synergy
Roland Jupiter 4
Roland MC-4 microcomposer/sequencer
Yamaha GS-1 FM synth
Oberheim Four-Voice
SCI Prophet 5 (x2)
Yamaha CE20 FM preset synth
Yamaha portasound keyboard
Roland VP-330 vocoder/strings
Bode Vocoder
E-mu Emulator I
plus a couple of Minimoogs

Linn LM-1 (mostly doubled with a TR-808)
Linndrum (LM-2)

And here's a listing of the keyboardists/synthesists performing on the album:

Greg Phillinganes
Michael Boddicker (Mr. Jackson's main synth-programmer)
Steve Porcaro & David Paich
Bill Wolfer
Brian Banks & Anthony Marinelli
David Foster
Greg Smith
Tom Bahler
James Ingram"

On another non music related note, we also lost Farah Fawcett today. Sad day today.

Update via VICMOD: "And Andy huges of The Orb passed away, thats got to be synth related" Indeed.

"Andy Hughes, (born 11th November 1965 - died 12th June 2009), was an English electronic music producer from Harrow, Middlesex [1]. He is most known for his work with The Orb, where he helped mix and produce Orbus Terrarum, Orblivion, and Cydonia, as well as The Orb's singles from this period. Hughes left The Orb during the production of Cydonia, which was reworked after his departure. He also did some additional original production work and performed remixes for The Cranberries and Tangerine Dream.

Hughes died at the Liver Intensive Care Unit at Kings College Hospital in London after a short illness on June 12, 2009." via Wikipedia. And Ed McMahon. And Sky Saxon of The Seeds.

Update: Michael Jackson and the Electronium

via the Raymond Scott blog:
"In August of 1970, Motown Records founder Berry Gordy read an article in Variety magazine about Raymond Scott and his Electronium. Along with The Beatles and The Beach Boys, Motown virtually controlled the 1960s pop charts with stars like Stevie Wonder, Marvin Gaye, and Diana Ross & The Supremes. And with THE JACKSON 5 as his latest smash supergroup, Gordy was at the height of his influence. ...

Hoby Cook was a technician at Motown’s MoWest facility who tested Scott’s Electronium extensively. 'I wanted some reactions, so as an experiment, I’d open the door and turn the volume up — loud.' Cook’s technique worked. Motown personnel heard the curious sounds and wandered in. “Cal Harris did a lot of recording with it, and MICHAEL JACKSON was fascinated,' Cook recalled. 'He was just this kid sitting there, staring at the flashing lights. He said he wanted THE JACKSON 5 to use the Electronium somehow.'"

New England Synth Fest - Bill T Miller Synthesizer Performance @ Museum of Science Boston - 08.11.22

video upload by Bill T Miller

"Bill T Miller Synthesizer Performance @ New England Synth Fest @ Museum of Science Boston - 08.11.22. This BTM stereophonic improv performance features a CLASSIC SYNTH array... Buchla Easel Command 208-C, Korg ARP 2600, Moog Mother-32, Make Noise O-Coast and 4MS STS Sampler & Toppobrillo MiniMix.

Video Produced/Directed/Edited by Bill T Miller
Cameras: BTM & Sheri Hausey & Beth Moguel

BILL T MILLER, a chameleon of sonic exploration, is a multi-instrumentalist musician, composer, recording engineer, producer, filmmaker, photographer, artist, instrument builder and cat lover. From toy piano at two years old to starting a "band" with tennis racket guitar and trash can drums in the 60s to becoming a professional recording engineer / producer / live sound tech after graduating from College for the Recording Arts in San Francisco in 1976, his paths are always unfolding and looping. At recording college he took synthesizer courses with ARP 2600 and Emu synths and then worked (as live sound and recording engineer) in California until 1980.

Eventually ending up in Boston working as a freelance recording engineer and live sound engineer and then starting his own Headroom Recording Studios. While much of his "professional career" was devoted to recording and photographing OTHER artists, he was always working on his own weirdo music bands in the shadows. Some of these adventures include Out of Band Experience (OBE), Kings Of Feedback, Drum Army, Kings Of Slack, Zonkulator, and Orgy Of Noise with over 25 full album releases on his own DIY labels as an artist.

BTM's quest has looped back around to a nostalgic look forward incorporating ALL of the past adventures while moving sideways in time in to an unknown future think void. Living in Boston for 37 years and giving every moment to this insatiable desire to CREATE and SHARE is focus of his true path.

SEE: http://btmtv.com (this youtube channel)
HEAR: http://billtmiller.bandcamp.com
MORE: http://billtmiller.com/

On the Second Thursday of every month of summer 2022, the Museum of Science teamed up with New England Synth Fest for an incredible fusion of live synthesizer performances that took over the Charles Hayden Planetarium. Experience some of the best synth musicians and visualizers from New England like never before in the immersive full dome environment of the Planetarium.

LOBBY MUSIC 7pm
BILL T MILLER = outer space trip out synths
20 minute set - PLEASE LISTEN CAREFULLY.

LOBBY SYNTHFEST VENDORS
ARP Foundation (Alan R. Pearman's daughter DINA will be there) & SynthCube & Stompbox Sonic & coolpix and MORE

7:30pm in the DOME three were 20 minute sets back to back for first show...

introduced by the host of MOS SUMMER THURSDAY SERIES... JAMES MONROE ! - Asha Tamirisa
- LIMBC with visuals by Solid State Entity - Bob Familiar with visuals by cskonopka

+ following 1st dome show were two 20 minute LOBBY sets...
- Vizzie / Oxalis (Ed Guild & Richard Tarantio)
- Build (Nick Solarz)

The three lobby sets are hosted by Richard Tarantio in conjunction with Modular On The Spot Boston. Richard provided LIVE SOUND for all three lobby sets and played in a duo for the middle set.

+ 9:30pm in the DOME there was a repeat of the hree 20 minute sets back to back for second show. (see above.)

Boston Museum of Science Polage Art by Austine Wood Comarow !!!!!

Mega Thanx to NEW ENGLAND SYNTH FEST HOST... KENT LUNDBERT !
Super Thanx to MOS SUMMER THURSDAY SERIES HOST... JAMES MONROE !

Ultra Thanx to BUCHLA GURU TODD BARTON for KRELL WISDOM & FLUTE APPEARANCE via morphagene sampler.

Super THANX to BETH MOGUEL for footage.
Eternal THANX as always to SHERI HAUSEY & Tippi Cat & Ziggy Cat & Mel the Cat !!!!"

The Synths of Jodorowsky's Dune (2014)

Jodorowsky's Dune (2014) - HD Trailer Published on Feb 14, 2014 Giles Thomas·70 videos

Update: please see this post for some unfortunate news regarding Kurt Stenzel.

Many of you I am sure are familiar with Frank Herbert's sci-fi novel Dune as well as the film adaptation by David Lynch in 1984 and the 2000 miniseries by John Harrison.  If you are not, see this article on Wikipedia and then head back.  Unknown to many, there was a planned film adaptation in 1973 by Alejandro Jodorowsky. It was to feature art by H. R. Giger (Aliens) and Jean Giraud, possibly music from Pink Floyd and Magma; the cast of actors was to include Salvador Dalí, Orson Welles, and Gloria Swanson.   The adaptation never made it due to financial reasons.  Jodorowsky's Dune (2014) is a documentary on the undertaking of the film that never was.

The film launches in the US today. You'll find the cities and dates and additional details on the film's website here: http://sonyclassics.com/jodorowskysdune/dates.html

As for the synth connection, the soundtrack was composed by Kurt Stenzel who reached out to me. I asked him if he could give us more info on the synths used in the soundtrack and particularly what we hear in the trailer. The following is what he had to say (scroll down to Specifically for this Trailer in red if you want to jump to what you are hearing in the trailer):

"I did this soundtrack using a rig that I have used for years in Cookin With Kurt, Beyond-o-Matic and SpacEKrafT.  Since I play out at events in San Francisco I go for as much analog goodness as I can carry- so these synths are throughout the movie.

I have an original Novation Bass Station with keys (it has a really unique filter in my opinion), a Dave Smith Tetra (HEAVY!), an Oberheim Matrix 1000 (god-like), and for the sake of portability, I do get into some of the more recent analog modellers that all have some merit- I have a MicroKorg 2, a Novation Xio 25, and a Quasimidi Sirius.

 In the 'digital that's special' I have TWO CZ101s (the synth I learned on when it was new) and a Yamaha TG-33 vector synth.

Larger analogs that are hard to gig with, include a Moog Source (don't cry, I got this for $40 on the street when analog was uncool) and a rather GRITTY MicroMoog, and the 'head' part of a Moog Taurus 2, and a very handy Roland Juno 6. I also used a Korg Poly 61 and a Korg Poly 800, as well as one studio session with a real Rhodes, a real Celeste (no joke it was the one you see Susan Dey play in Partridge Family episodes-- the studio owns THE one) and they also had a Roland String Machine. The Celeste and Rhodes didn't make it to the film though--Director Frank Pavich though they were 'too normal' Ha! .

I also use Casiotones quite a bit--an original MT-60 my Dad bought in Japan when they were really novel, and a Concertmate from Radio Shack. I mention the Conccertmate as I realized that sucker has appeared on EVERY recording I have ever done--some of the low bit string sounds are ethereal and I run that through effects. It's very beat up from 20 years of gigs. God bless Radio Shack.

I also have lots of effects and toys like the Bliptronic, the Buddha Box, old school Kaos pad, and I use my kids Nintendo DS's to sync up 3 programs on 3 DS devices. I also got a Korg Monotribe and the Korg Monotron. Toys are good.

I used some very low fi techniques for sound design too. Oh, and my buddy Dave Miranda recorded me on his Dave Smith Poly Evolver keyboard as a last minute thing in NY and it wound up being a crucial scene-- that required no overdubs or any treatments-- that thing sounds amazing.

Also noteworthy, I am a hardcore user of the Roland SP-808 for sound design. That has been a platform for me since it came out, so my zip discs were flying on this project.

There's about 9 minutes of SpacEKrafT music in this film as well- that is my duo with Edward Dahl here in San Francisco. Ed uses Ableton and plays guitar and we have lots of toys--Alesis Air Synth and Air Effects. I use my aforementioned rig in various settings with SpacEKrafT. I also played a fair amount of guitar on the soundtrack, as well as some vocalizations. Some screaming, which came natural as I am also the singer in NY band "Six and Violence". When I am not tinkling on the keys.

SPECIFICALLY on the TRAILER: Zero to :40 is a relatively rare Yamaha SS-30 which I think has become fetishized since Sigur Ros uses one. That thing is way fun, and I have to thank Peter Fuhry from Beyond-o-Matic for loaning me that and the MicroMoog for many years.

In the trailer, when you hear the arpeggiation kick in at :40, that's one of my favorite synths ever, the Matrix 1000. That thing is my secret weapon. I love it. I am using the arpeggiator on the Quasimidi Sirius (and playing) to drive and alter the pattern. I know Sirius keyboards are rare nowadays, glad I never got rid of it. I mean, it has real Kraftwerk demoss in it straight from Germany!

The loud "blast" at 1:37, no joke, is a 'thunder tube' which is basically a tube with a drum head and a reverb spring--I banged it and slid the whole tube over an omnidirectional mic running through pitch shifting and all kinds of stuff. Don't tell Hollywood!

Next in the trailer, the brass at 1:55 is the Quasimidi Sirius which has an amazing factory patch named 'Shine On' (Floyd was supposed to do the original Dune) so it was a great coincidence, as I feel that patch is very cinematic--I have been using it for years--sounds great in a club (or now a movie theater). I probably ran some analog under it, the Matrix 1000 and the Tetra just via MIDI. 

This whole project was done largely with a MIDI 8x splitter as I improvise and play, so to get the multiple textures and voices at once, I fire the whole rig up and play my mixer faders live to weave textures. I did NOT use any computer based sequencing, almost no overdubs-- the synths sound beautiful as their own voices.

I played and mostly recorded myself. I pulled all-nighters as I had a full time day job, 2 kids, a lovely fiancee and band gigs the whole time this was happening. Frank Pavich essentially typecast me as he knew I was such a fan of Jodorowsky, all things 70's and analog, etc. This was not just a soundtrack, it was already my own personal and spiritual journey with or without the movie.

One last story of gratitude- I was very intent on getting my hands on a REAL Yamaha CS-80 -- granted that was a little later than the 1975 time period of the documentary, but I love Eddie Jobson's 'Alaska' solo, and obviously Vangelis used it so well on Blade Runner. I was very envious that Daft Punk seemed to have one on the Tron soundtrack. I asked all around-I know synth people- I know the guys in Devo a little and their crew is really cool- they almost got me one. NO ONE had a working CS-80, not even in Los Angeles. One night I came on a YouTube Tutorial called 'Vangelis Bladerunner sound JUNO 60' and followed it and dialed up such a great sound from my good old Juno 6. So I want to THANK "magevers" whoever you are on YouTube. That to me is what the synth community is all about-- people who really have a keen interest and are WAY INTO THE SYNTHS. Like you Matrix Synth Jones, THANKS BROTHER- hope you get to see this movie-- Jodorowsky will blow your mind and you will want to go and CREATE ART!"

Can't wait.  Thank you Kurt!

Update: some links via Edward W. Dahl in the comments:

"I am co-captain of SpacEKrafT and you might have seen this video posted here on Matrixsynth a little over a year ago."

Music: www.soundcloud.com/spacekraft
Facebook: http://www.facebook.com/myspacekraft

Update 4/13/2014:

Q&A with Dune Composer Kurt Stenzel

Published on Apr 8, 2014 hellspreetube·39 videos

"Q&A with Kurt Stenzel, soundtrack composer for "Jodorowsky's Dune," after a showing at One Embarcadero, San Francisco, CA, April 5, 2014.

http://www.kurtstenzel.com/
http://www.jodorowskysdune.com/"

via David Wilson-Okamura on The MATRIXSYNTH Lounge

Cwejman VCO-2RM Oscillator Synth Module

Note: links to listings are affiliate links for which the site may be compensated.
via this auction

"VC0-2RM is equipped with seven waveforms, LFO mode, sync and waveform outputs are routed to a DC coupled ring modulator (RM). The oscillator's frequency is controlled by COARSE, TUNE knobs and FM inputs. TUNE finetunes the oscillators (± 6 semitones). Frequency modulation (leveled FM1, FM2 and FM3 ) determinates the intensity of frequency modulation and/or pitch control. All FM inputs are carefully calibrated for 1Volt/octave sensitivity. Frequency modulation, by an audio signal, creates so called "side-bands" that consist of sum and difference of signals frequencies. These additional frequencies do mostly have a non harmonic sound. Modulation, by low periodic waveforms, such as LFO or envelope generator creates momentary pitch shift of modulated oscillator common named vibrato (by LFO) or pitch bend (by envelope generator). SYNC means that sync'ed oscillators frequency is tracked by the frequency of controlling oscillator; OSC2's frequency is syncronized to OSC1's frequency. When the tuned frequency of sync-ed oscillator has the same or multiple of frequency of controlling oscillator then sync-ed oscillators waveform has no or very little "glitch" which results in a sync-ed smooth waveform (sinus waveform). The sync-ed waveforms (with additional FM modulation) are perfect for cutting edge lead sound and hard, funky basses. PULSE WIDTH % adjusts the pulse width of the pulse wave from 5% to 95%. WAVEFORM selects the waveform or a mix of waveforms from an oscillator. PULSE WIDTH control works also on the waveform mixes where the pulse wave is included. Ring modulator (RM) is a classic audio effect device and due to the non harmonic character of the output signal, very useful to create metallic timbres such as bells, sweeping whistles and percussive sounds and tremolo effects (modulated by low periodic signal like a LFO). Two input signals are pre-patched to OSC1 and OSC2 outputs. Using the inputs X and Y, any other external signal can be routed directly into the ring modulator. As modulation source the ring modulator can produce a huge amount of complex waveforms both in the low and audio frequency range."

Roland MKS 30 w/ Johannes Hausensteiner Mod & New Chips

via this auction

"If your viewing this listing you now what it is. but this synth comes with a great deal of extras far beyond the average MKS30. All six voices have been completely restored and socket-ed, so if one chip ever fails you will never have to send your entire board to a technician. Just buy another chip! But i highly doubt these will fail anytime in the near future. the restore and socketed voice chips alone make this synth a great steal. This synth also come with the full Johannes Hausensteiner mod (v3.6) which you can find all the specs below. this mod is no longer being sold by Johannes Hausensteiner , and i cant find it anywhere except on his website. So it is wise to put this synth in your collection. The adjustable chorus on this synth sounds amazing. you can use is with your favorite editor or the Kiwitechnics PE. auction includes roland mks 30 w/ restored voice chips and Johannes Hausensteiner mod and firmware installed, power cable. thank you and happy bidding. All international bidders must contact me first. Immediate payment is required. thank you!

M K S 3 0 A D D I T I O N S :
1. Overview - new Features
1.1. Key Window Function
1.2. Chorus Speed
1.3. Preset Patches
1.4. MIDI Commands
1.5. SysEx
2. Hardware Changes
2.1. Chorus Speed
2.2. MIDI OUT
3. Software
4. MKS30 PC based editor
5. Direct MIDI edit
6. PG200
6.1. MIDI controller numbers
6.2. PG-200 catch up mode enable/disable flag
6.3. MIDI control change enable/disable flag
7. MKS30 Windows based editor
8. Revision history
8.1. MKS30 firmware (ROM)
8.2. MKS30 editor
8.3. MKS30 Windows editor

1. Overview - new Features
1.1. Key Window Function

There is a new 'Key Window' function, which means that you can specify a split point and only MIDI notes above or below that split point will
be played by MKS30. This needs two new parameters for each patch:

#52 .. KEY WINDOW NOTE: specify note number (0..99)
It is possible to input numbers only from 0 to 99 from the MKS30
front panel and also from the MKS30 editor program (which is not
a restriction as the highest note played by MKS30 is #96).
#53 .. KEY WINDOW MODE: BELOW (o) / ABOVE (

http://analog.no/cms/index.php/mks-30-midi-upgrade/spesification"

PPG WAVE 2.2 VINTAGE ANALOG DIGITAL HYBRID SYNTHESIZER

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via this auction

"For sale is this vintage early-1980s PPG Wave 2.2 analog/digital hybrid synthesizer. This particular one owner example is in very excellent original condition and was professionally modded when new with the MIDI upgrade. This extremely rare synth was made in Germany by Palm Products GmbH and is regarded as being one of the finest synths to incorporate digital samples controlled by an analog interface. The Wave 2.2 is considerably more rare than its Wave 2.3 successor, and though they appear to be similar, are actually quite different. Synth enthusiasts and keyboard connoisseurs alike will both recognize just how rare this synth is, as very few of these units were manufactured, so don't hesitate because this opportunity does not come along very often.

This PPG Wave 2.2 incorporates digital samples of wavetables while utilizing analog VCA, as well as analog, VCF sections. The Wave 2.2 also features; an oscillator capable of generating over 2,000 single-cycle 8-bit analog waveforms, a digital control panel with a more complex editor than previous versions, MIDI implementation, and an 8-track sequencer utilizing pitch automation, loudness, filter cutoff, waveforms and much more.

Originally inspected by PPG authorized service technician Ed Miller of syntheisizerrepair.com when first imported, this synth will include a complementary service and clean bill of health from Miller himself. Used by David Bowie, Depeche Mode, Stevie Wonder, and an ever-expanding list comprised of the best recording artists of all time, this is a magnificent instrument is worthy of the best studios, as well as, the ownership of even the most accomplished synth collectors."

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