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 matrixsynth@gmail.com. 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!
"- Moogfest attendees engage in an ecosystem of ideas, experiments, and specialized skills
Durham, North Carolina (April 5, 2017) – Today Moogfest unveils the full schedule for the expansive four-day festival. Exploring the future of technology, art, and music, the festival includes more than 300 musical performances, daytime workshops, conversations, masterclasses, film screenings, live scores, durational sound installations, and interactive art experiences.
*Please note, the full schedule can be viewed on Sched; however, registration and adding sessions to your personal schedule won't be available until sign-up opens Friday, April 7, at 12:00 noon ET for Engineer ticket holders; Tuesday, April 11, at 12:00 noon ET for VIP ticket holders; and Tuesday, April 18, at 12:00 noon ET for all ticket holders.
Moogfest celebrates the legacy of Bob Moog, a visionary engineer who pioneered the analog synthesizer and other technology tools used by artists like Stevie Wonder, David Bowie, and Kraftwerk. This year’s program will feature over 260 innovators in music, art, and technology -- from Flying Lotus, Animal Collective, Suzanne Ciani, Gotye and Princess Nokia to Dr. Kate Shaw, an experimental particle physicist working on the ATLAS Experiment at the Large Hadron Collider, and Joe Davis, a pioneer in creating art with genes and bacteria at MIT Media Lab. Moogfest takes place in Durham, North Carolina, a fast-growing capital of technology, culture and entrepreneurship.
Happening Thursday, May 18 - Sunday, May 21, with hundreds of artists, speakers, and sessions across downtown Durham, Moogfest contains a vast galaxy of discovery. Workshops are an essential part of the Moogfest program, as the platform prioritizes intimate spaces for collaboration and creativity. In these open learning environments, participants interact with technology tools that allow humans to creatively express themselves in new ways, so that we can design the future we want to see and hear.
Looks like two EMS VCS3s in a custom keyboard controller case. There was a smaller VCS4 and XILS made a software emulation that looked just like this one. You can find both in the archives here.
"VCS4 day is a one day event (10–5pm) that pays tribute to the unique early music synthesiser, the EMS VCS4, which has recently been acquired for the Department of Music at Goldsmiths from the musician Simon Desorgher, with the support of the Goldsmiths Alumni and Friends Fund.
The VCS4 was produced by the world-renowned Electronic Music Studios Ltd (EMS) company in London in the late 1960s, run by pioneering composer Dr Peter Zinovieff. It was one of a number of early EMS synthesisers used by pioneers of electronic music in Britain, and was created initially for the composer Harrison Birtwhistle for use in his piece Chronometer (1971–72). The instrument, which is the only one in existence in the world, combines two VCS3 synthesisers to create a custom and highly versatile performance instrument. VCS3 synthesisers have been used by such luminaries as Delia Derbyshire, the BBC Radiophonic Workshop, Aphex Twin, Brian Eno, Hawkwind, Pink Floyd and Robert Fripp. For many years the VCS4 had been thought lost, until the advent of the Hugh Davies Collection arriving at Goldsmiths in 2019, when Desorgher approached the music department with a proposal for the VCS4 to be maintained and made available to students and researchers at Goldsmiths Electronic Music studios.
Shortly after Goldsmiths Electronic Music Studios opened in 1968 (one of the first electronic music studios at a university in the UK), the studio obtained two other EMS VCS3 synthesisers. It is fitting therefore that the VCS4 is now housed in Goldsmiths Electronic Music Studios, affording opportunities for it to be used by undergraduate and postgraduate students in both their compositions and performances.
VCS4 day represents an opportunity to gain detailed insight into this extraordinary instrument, through a series of talks from its inventors, protagonists and leading experts on the history of analog synthesisers and their cultural impact. A programme of performances on the VCS4 will take place throughout the day."
"Mike Hosker presents to you a tutorial video of the iMini, Arturia's first application for Ipad.
iMini is an application recreating the classic Minimoog™ synthesizer that is based on the TAE™ technology found in Arturia award winning Mini V software.
iMini is designed to allow users the classic sound, look and feel of this iconic synthesizer.
iMini endorsers include Stephan Bodzin, Richard Devine, Banco de Gaia"
"COMPATIBILITY
iMini is compatible with iPAD 2, iPAD 3 and IPAD Mini
DESCRIPTION
iMini is a recreation of the classic 1971 Minimoog™ synthesizer, one of most iconic synthesizers of all time.
Based on the TAE® technology found in our award winning Mini V software, iMini offers a level of sound quality never before found on the iPAD as well as over 500 sounds by leading sound designers.
We have also partnered with the Bob Moog Foundation so that a portion of each sale goes to support their work in music education via the Dr. Bob Sound school program, making available the archives of Dr. Bob Moog and funding the dream to build the Moogseum.
The Minimoog™ synthesizer was made famous by artists and bands such as Stevie Wonder, Depeche Mode, Kraftwerk, Keith Emerson, Devo, Jean Michel Jarre and more. We now bring the features and sound of this classic to the iOS platform.
The iMini not only recreates the look and feel of the most legendary synthesizer, it does it with unparalleled sound quality. iMini is based on the award winning Arturia Mini V software that was created in partnership with Dr. Robert Moog himself, back in 2003. Thanks to this heritage, continuous research and refinements over the years, iMini comes with amazing sound quality and a large collection of preset sounds created by top sound designers such as Klaus Schulze (Tangerine Dream) and Geoff Downes (Asia).
What will you do with it?
First you can play the iMini’s numerous sounds from the iPad keyboard. You can create your own sounds and start building your personal sound palette.
If you are an owner of the Arturia Mini V software on your Mac or PC, you can import and export sounds between your laptop or desktop Mini V and iMini.
You can also control iMini from a MIDI keyboard via CoreMIDI and integrate it into your studio or live performances.
But this is not all; iMini is ‘Tabletop Ready’. Tabletop is a free iPad application that allows you to integrate iMini into a full studio of devices. With Tabletop you can build an entire song, with drum machines, FX's, sequencers... and of course the inimitable Minimoog™ sound.
Tabletop Ready™
The connect page is also your avenue to open up a whole new world of possibilities with iMini via Retronyms Tabletop application.
Tabletop™ is a free app for your iPAD that allows you to integrate iMini into a complete studio environment. In Tabletop you can use multiple instances of iMini; record your performance into a real-time sequencer; automate any of the parameters; add effects; process other modules through the iMini filters, etc. Tabletop also features number of in app purchase options to add more effects and instruments from other 3rd party companies.
Features include
Classic Minimoog™ sound.
3 Oscillators
24db per octave filter.
Simulated headphone jack/external input feedback.
2 Assignable XY pads
Chromatic or tuned scale keyboard modes
Polyphonic mode
Full featured arpeggiator
Repeat
HOLD and MEMORY latch modes
Octave span
5 note order modes
Speed and sync controls
Virtual Analog Chorus
Virtual Analog Delay
Owners of both the iMini and Mini V software apps can transfer sounds from one platform to the other via iTunes.
Full user MIDI mapping of panel controls.
Supports WIST sync with other iOS devices.
‘Tabletop Ready’
Soundcloud seeder (via Tabletop)
Render to .wav file (via Tabletop)
‘Audiocopy’ to paste your audio into another iPAD application. (via Tabletop)
The Minimoog™ name used here is a trademark of the respective owners, which are in no way associated or affiliated with Arturia. These trademarks are used solely to identify the products whose sound and features were modeled during the development process."
"Arturia advances history-making Minimoog to iPad musical masses!
"The iMini turned my iPad into an ‘old skool’ analogue bass monster! Its sound is irresistibly ‘phat’ and very close to the original. If you want that typical dirty Moog sound then the iMini is all you’ll ever need. It’s by far the most powerful and hypnotising synth app on the market.”
- Stefan Bodzin, 2013 (DJ/producer, remixer of Depeche Mode, Booka Shade, and more)
GRENOBLE, FRANCE: music software and hardware company Arturia is proud to announce availability of iMini, an authentic recreation of the all-time classic Minimoog monosynth for Apple’s all-conquering iPad, as of February 27...
iMini is based on the TAE® (True Analog Emulation) synthesis technology found in Arturia’s award-winning Mini V soft synth, meticulously modelling the distinctive tones and analogue nuances of the legendary Seventies-vintage Minimoog Model D monosynth. Moog changed the musical world with the Minimoog and Arturia helped change the music software world with the Mini V.
Arturia now brings the still-sought-after classic Minimoog sound to the musical masses, transforming any iPad mini, iPad 2, or iPad with Retina display into the ultimate analogue synth emulation! Those timeless three oscillators and that 24dB per octave fabled filter are all present and accounted for in iMini. It also successfully sports the look and feel of Dr Bob Moog’s namesake iconic synthesizer for all to see (and hear). But being a game-changing iPad app for 2013 and not an analogue synth design dating back to 1970 means there’s a whole lot more to iMini than first meets the eye...
Any serious synthesizer connoisseur will instantly recognise the MAIN mode screen as an eye-catching rendering of the Minimoog Model D front panel, albeit with welcome additional ‘analogue’ CHORUS AMT. and DELAY AMT. level controls, as well as a POLY switch for playing polyphonically — impossible in 1970, obviously! Other subtle supplements include a gearwheel icon above the keyboard — press to reveal GLIDE, DECAY, LEGATO, and SCROLL switches for performance keyboard control, plus a SCALE function to choose from no fewer than 26 different scales and modes. Meanwhile, iMini comes complete with hundreds of superb sounds showcasing its supreme sonic versatility; press LOAD from the menu bar and choose from sound designer or category — couldn’t be simpler!
But ‘behind’ that familiar-looking MAIN screen lies a wealth of truly 21st Century audio action: the PERFORMANCE page accesses an arpeggiator with two latch modes and two assignable XY pads for creating all kinds of patterns and real-time morphing sounds; the FX page provides iMini with the same wide-ranging CHORUS and accurate ANALOG DELAY models found in the above-mentioned Mini V software — subtle sound thickening to wildly modulated effects (chorus) and sync to external tempo (stereo delay) possibilities abound here! Handily, all onscreen knobs and switches in each iMini page can easily be assigned to MIDI CC allowing automation from any external MIDI source. The default MIDI map will automatically work with Arturia MiniLab or Analog Player 25 Universal MIDI Controller keyboards!
And that’s not all: the CONNECT page is the gateway to making iMini talk to the outside world (using the Apple iPad Camera Connection Kit) — use WIST (Wireless Sync Start Technology) to sync the arpeggiator and delay to other iPad or iPhone apps, and integrate iMini into a complete studio environment via Retronyms Tabletop. This free iPad app allows multiple iMini instances to be simultaneously run; real-time performance recording into a sequencer; parameter automation; processing of third-party, Tabletop-ready apps through the iMini filter, and more. “iMini is an ideal Tabletop-ready app,” says Retronyms Co-Founder John-Paul Walton. “It’s a fresh take on a legendary synth, and comes packed with a ton of amazing presets — everything from retro space sounds to contemporary bass noise.”
Thanks to iMini, today there’s really no excuse for not taking that history-making Minimoog sound anywhere anytime. And in recognition of the groundbreaking instrument to which it owes its very existence, for every iMini sold, Arturia will make a donation to The Bob Moog Foundation, whose Executive Director, Michelle Moog-Koussa, kindly adds: “We are grateful to Arturia and Retronyms for donating part of the proceeds from the iMini in support of our mission to ignite creativity at the intersection of music, science, history, and innovation. A portion of this funding will go to support our educational initiative, Dr Bob’s SoundSchool, which teaches children the science of sound through the magic of music.”
For Frédéric Brun, Arturia’s President, the feeling is mutual: “We are delighted to donate to The Bob Moog Foundation and acknowledge our gratitude to Robert Moog, who helped us when we released our first virtual instrument, the Modular Moog V, back in 2003. We are also thrilled to work with Retronyms, who are a great company and a force to be reckoned with when it comes to iOS. The iMini sets a new standard for what a virtual instrument should sound like on an iPad.”
So let’s make music and help history come alive with iMini in more ways than one, and also support the dream of building the Moogseum (Bob Moog Museum), the convergence of The Bob Moog Foundation’s goals of inspiring and educating people through electronic music.
Appropriate iPad owners can purchase iMini directly from Apple’s App Store during a three-week introductory launch pricing period for €8.99 EURO/$9.99 USD (rising to €19.99 EURO/$21.99 USD thereafter)."
"From The Alan R. Pearlman Foundation: A fantastic visual feast through Bill Miller's ARP Journey! (ALERT: A few strobe lighting effects for those who are sensitive.)
Musician / Recording Engineer - Producer / Filmmaker - Photographer - BILL T MILLER has been on the quest for SOUNDS and FUN ending up on a path to ARP SYNTHESIZERS starting with a TOY PIANO on his second birthday, then a bit of tinkering on his grandfather's grand piano, then scoring MAGNUS CHORD ORGAN and an ACETONE ORGAN in his early teens in the late 1960s with his band THE ELECTRIC ONION where he played guitar/bass and a bit of drums and keyboards.
By late teens (in 1975) he ended up at COLLEGE for RECORDING ARTS in San Francisco (in Golden State Recorders Studio) where he studied recording engineering production and took synthesizer classes. Walking into the first synth class revealed ARP 2600 in person..... luv at first sight.
Shortly after graduating and moving to Hollywood with hopes of buying a 2600.... reality set in and he scored a USED ARP ODYSSEY MK1 1974 model, that was purchased in late 1976. Some of the recordings you hear in this video are part of those BTM Bungalow Bill Sessions 1976-77 (although Bill had been playing music for over a decade at that point, those ARP SYNTH tapes are the earliest surviving BTM recordings in existence.)
Working in California doing recording and live sound from 1975-1980, he ended up back on east coast (where he had spent first two decades of his life.) Eventually ending up in BOSTON (1984) working at Daddy's Junky Music (selling recording and sound gear) while doing freelance sessions at studios (PolyMedia, Newbury Sound) and live sound at venues (The Rat, Bunratty's, The Channel) and starting his own semi private project studio HEADROOM.
Fast forward to early 90s... a band BTM had recorded before called CHEATER SLICKS popped into Headroom and said meet our new bass player DINA... and then pointing to BTM's ARP ODYSSEY (that he had hung onto since LA 76 era) said something like... DINA's father's company created YOUR SYNTH....meet DINA PEARLMAN... daughter of ALAN R PEARLMAN. wow. cool. We chatted a moment about how much I luved my Odyssey and she spoke very briefly of her father and some ARP adventures (mentioning Pete Townshend and more) = but then we jumped right into recording the garage punk band tracks where she nailed solid bass guitar for a raw live session.
So... jump way ahead and BTM continues creating experimental music with his own bands... Out of Band Experience (OBE), Kings Of Feedback, Drum Army, King Of Slack, Orgy Of Noise, Zonkulator and recording and photographing tons of OTHER artists (hardcore, garage, punk, metal, noise genres.) All the time digging further out into weirdo land with circuit bent toys, and custom electro acoustic instruments, and of course synthesizers. Always hanging onto that original icon ARP ODYSSEY and his Roland JX-8P and adding an ARP 2600 and modular eurorack synths and more to the mix. Active in various Boston synthesizer synthfests/meetups playing live synth concerts at the DAVID FRIEND RECITAL HALL at BERKLEE in Boston. Then he attended the "Alan R. Pearlman - Everything ARP Symposium" at Berklee finally saw DINA PEARLMAN again with her father and mother and all the ARP family in a sort of THIS IS YOUR LIFE celebration of all things ARP. A moment in ARP history that is beyond words.
Much respect to DINA PEARLMAN for the Alan R. Pearlman Foundation and ARP ARCHIVES carrying on the ARP family legacy in memory of her mother and father and all the ARP family who created and played and sold and loved ARP Synthesizers over the now 50 years. Dennis Colin and David Friend are two of the people that have contributed so much to the ARP legacy, but there are so many others who were there in essentially what amounts to the golden 70s decade of ARP that made it all happen. Now with the help of Dina's love and devotion ARP lives on and on.
Bill T Miller has always LUVED ARP and his first synth the ARP ODYSSEY is still the centerpiece and heart of his studio HEADROOM in BOSTON. Always exploring the weird sonics and basically ignoring the create a patch on a synth to simulate "real" instruments thinking and going for the outer space blip bloop sample and hold I hear a new universe of unreal electronic music.
"Soundplant 39 Released – Turns The QWERTY Keyboard Into A Playable Instrument & Instant Sound Triggering Tool
New York, NY – May 20, 2010 – Today Marcel Blum released Soundplant 39 for Windows and Mac, the first major update since 2004 of the popular low cost software sampler that turns the computer keyboard into a low latency digital audio performance tool and playable instrument. Ultra-optimized for the standard QWERTY keyboard, Soundplant allows the assignment of sound files of unlimited size onto 72 keyboard keys, for hours of instantly-playing audio with no need for extra hardware.
New version 39 adds several major features in response to user requests, including support for virtually all audio file formats in existence, a 'background key detection' mode that allows Soundplant to continue receiving key input even while minimized or hidden, waveform display, detailed playback progress indicators for all channels, precise fading control, and randomization settings. Soundplant 39 also marks the first official Mac release after several years in beta on that platform.
Since it’s debut as a free Windows beta in 1999, Soundplant has won multiple awards and gained a dedicated cult following in the DJ and pro audio worlds for its combination of simplicity, standalone sound triggering power, rock-solid stability for live use, low cost, and versatility as a multipurpose playback utility. The BBC uses it for sound design on Doctor Who. Breakcore producer Droon uses it during his raucous performances with a keyboard strapped around his neck like a QWERTY keytar. When John McCain won primaries during his 2008 presidential campaign, it was Soundplant playing "Johnny B. Goode" at his victory rallies. Electroacoustic composer Darren Copeland even created a composition for Soundplant (Letters To Our Names, for 1 or more laptop performers). Soundplant’s spread by word of mouth has been viral, with the $35 software challenging - and in some spheres overtaking - the dominance of expensive dedicated hardware; in Sweden, sound engineer Mattias Dalin of SVT calls Soundplant "without doubt the most used playback program in TV work over here, with great success."
Soundplant can be used to trigger sound effects or background tracks during a show, for music or loop creation, as a drum pad, as an educational aid, as a unique electronic instrument with an input device you’ve been practicing on for as long as you’ve been typing, and as a sound design sketchpad. It allows dragging and dropping sound files on to keys for quick and easy setup; playback from RAM for instant cueing or from disk for unlimited sound length; auto-pitch-assign to easily spread the same sound across multiple keys at varying pitches; auto-offset-assign to quickly slice up samples across multiple keys; and much more. Soundplant is a true performance program that allows playback and triggering to continue even while configuring, loading, and unloading sounds on the fly.
Availability and pricing Soundplant is offered as a free download at http://soundplant.org/ which includes a 25-launch trial of the registered features. In unregistered mode it is free for non-commercial use and limited to playing uncompressed 8- and 16-bit wav and aif files. The registered version (USD $35, or a $27 upgrade from previous versions) allows loading all sound file types including higher bit depths, compressed formats like mp3, mp4, flac, wma, alac, audio from video files like avi, flv, mov, wmv, and more.
About the author Marcel Blum is an independent software developer, musician, and vinyl archaeologist based in New York City. As a programmer, he develops educational software and custom realtime digital audio and video applications. As an improvising experimental musician, he performs on turntable and laptop in several groups. And as proprietor of ‘keymap records’, he peddles vintage vinyl rarities of early electronic and avant garde music.
“Arturia’s iMini app is a stunning recreation of the original Minimoog. The performance features and arpeggiator add a whole new twist to this already classic synth. I am completely blown away that I now have this on my iPad.”
- Richard Devine, 2013 (electronic musician and sound designer)
GRENOBLE, FRANCE: music software and hardware company Arturia is proud to announce availability of iMini V1.2, an innovative iOS 7-supporting update to its authentic recreation of the 1971-vintage Minimoog * monosynth for Apple’s all- conquering iPad, as of September 26...
Like time and tide, technology waits for no man (or woman). Within days of Apple advancing its iOS — the mobile operating system at the heart of its iPhone, iPad, and iPod touch devices — to iOS 7, with all-new features like smarter multitasking as well as enhanced apps to make everything easier to get to and use, Arturia advances its iMini app to take advantage of iOS 7’s inbuilt Inter-App Audio, allowing users to send MIDI commands and stream audio between apps on the same device. Thanks to its new iOS 7-supporting INTERAPP AUDIO TRANSPORT feature, iMini V1.2 can connect and control other similarly-supportive apps with the greatest of ease, letting users concentrate on what they do best — making music with the ultimate classic analogue synth emulation for iOS whenever and wherever the mood takes them!
Existing iMini owners of course can directly download the V1.2 update for free, which is sure to put them in a good mood to start with, but even with all this developmental discourse of iOS 7 support it’s still nice to know that Arturia will continue to make a donation to The Bob Moog Foundation for every iMini sold in recognition of the innovative instrument to which it owes its very existence. In turn, this supports the dream of building the MoogseumTM (Bob Moog Museum), the convergence of The Bob Moog Foundation’s goals of inspiring and educating people through electronic music.
Today, then, there’s really no excuse for not taking that history-making MinimoogTM sound anywhere anytime with iMini — all the more so with all that improved interactivity, thanks to the inspired iMini V1.2 update. So what are you waiting for? Head on over to Apple’s App Store and treat yourself to the new and improved ultimate classic analogue synth emulation for iOS! Inspiring electronic music awaits appropriate iPad owners everywhere.
* The Minimoog name used here is a trademark of the respective owners, who are in no way associated or affiliated with Arturia. These trademarks are used solely to identify the products whose sound and features were modelled during the development process.
Appropriate iPad owners can purchase and directly download iMini V1.2 from Apple’s App Store for $9.99 USD/€8.99 EURO/£6.99 GBP.
"In this video, Anthony tells the story surrounding the musical score from (1986) hit film Stand by Me which features an All-Star cast that incudes River Phoenix, Wil Wheaton, Corey Feldman, Jerry O'Connell, Kiefer Sutherland, Casey Siemaszko, John Cusack and Richard Dreyfuss.
We learn that the first version of the film was titled The Body, named after the novel by Stephen King. The film's director, Rob Reiner intuitively changed the film's name to Stand by Me after licensing the rights to the song with the same name written by Ben E. King along with Jerry Leiber and Mike Stoller. The name change was made only one week before the film's delivery date. With little time to spare, the musical score was re-created using the sounds and melody from the song and performed on the Synclavier Digital Music System using it's on board sequencer/recorder and employing a sound modeling technique unique to the Synclavier called "Resynthesis".
Anthony describes "Resynthesis"as creating synthesizer sounds based on samples analyzed by the computer that use cross fades of back-to-back wave tables. "Resynthesis" gives you the tonal character of the original sampled sound with all the benefits of a synth (e.g less memory, same length across the keyboard, more editing capabilities...) Along with Brian Banks, Anthony programmed all the sounds and replayed the entire score in this way after the original score by Oscar Winning composer Jack M. Nietzsche was abandoned. The film's director Rob Reiner was present throughout the scoring process. The duo had just completed work programming and performing Jack's score for the John Carpenter Oscar Nominated film Starman.
In this video you'll hear the actual sounds used in the film that Anthony loads from the original 5.25" floppy disks (that still work perfectly after being in storage for close to 40 years). The final score used a core instrumentation of resynthesized versions of a flute, stand up bass, bowed wine glasses and piano. There was no DAW in existence so all the tracks were input into the Synclavier's internal sequencer/recorder and locked to picture using the latest feature SMPTE time code. With this set up, everyone could watch the film while the music was being recorded.
Anthony also states the importance of a good film or a good song. It's all the difference in the potential of your work as a programmer, arranger or performer. He advises to step back and really listen to what you are creating to find the emotion in the sounds.
Anthony's musical touch as both composer and performer is connected with some of the most influential creative minds over the last 40 years. He’s composed and conducted original orchestral scores for over 80 feature films including Young Guns, Internal Affairs, The Man From Elysian Fields, 15 Minutes and Planes, Trains & Automobiles, been commissioned by the Los Angeles Philharmonic for his symphonic work "In the Family Way", written over one thousand TV commercials in a myriad of musical styles, co-founded Levels Audio Post (LA's premiere post production facility) and performed and arranged on big-box-office films and influential hit records such as Michael Jackson's Thriller.
His extensive work as a young arranger, orchestrator and performer for Quincy Jones, Jack Nitzsche, Lamont Dozier, Arthur Rubenstein and Giorgio Moroder was vital in launching his own career. His early years pioneering modular analog synthesizers along with his wide-ranging music scholarship positioned Anthony at the center of the music technology revolution. He attended the University of Southern California School of Music as a piano and composition major.
Good advice for life as well. David Bowie lived it, and gave many of us the freedom to live it right alongside him. He is a hero in the truest sense. One of the most famous, yet kindest human beings on earth. His influence is quite literally beyond measure. It isn't just his music. More than anything it is permission to be whoever the hell you want to be and the permission to tell anyone who judges you to f off, all the while being kind about it. No apologies, no time wasted. Think about that a bit. He will continue to give freedom to countless generations to come, simply by being the person he was. I love his music, I cherish what he gave us, and I love how he did it - he made it cool to be yourself while at the same time being kind, tolerant, and compassionate towards others. He was the best of the best, and I love him for that.
Thank you captain. If there is existence after death, I hope you are enjoying it as much as we enjoyed your existence here with us.
---
On the synth side of things, because this is a synth site after all, I was curious how many posts mention David Bowie. I knew there would be a few. It turns out there wasn't just a few, but a whopping 77 posts total. That from a man not known for synths. Many of the posts are repeat references to Bowie's use of the stylophone and other synths, but there are some true gems there. Spend some time looking back on his influence on the synth world. He touched everyone. The following is just a handful of tributes from the synth community. If you have any to add, please feel free to leave a comment below.
Synth heavy track "From 'Low' (1977)" via @Synth_City
"Warszawa" for Mellotron and Minimoog
Uploaded on Feb 22, 2010
"Educational.
An excerpt from David Bowie's 'Warszawa'. Played on my Wakeman combo."
And the song that started it all for me, Ashes to Ashes, followed by his final two.
David Bowie - Ashes To Ashes
Published on Mar 6, 2009 emimusic
David Bowie - Blackstar
David Bowie - Lazarus
Published on Jan 7, 2016 DavidBowieVEVO
"He always did what he wanted to do. And he wanted to do it his way and he wanted to do it the best way. His death was no different from his life - a work of Art. He made Blackstar for us, his parting gift. I knew for a year this was the way it would be. I wasn't, however, prepared for it. He was an extraordinary man, full of love and life. He will always be with us. For now, it is appropriate to cry." - Tony Visconti (1/11/2016)
"The Electronic Music Manuscript: A Richard Devine Collection harbors some of the most unique material in the Sony Sound Series catalog. A vast, unparalleled construction kit, The Manuscript is a vault full of pure sonic gold, poured and shaped by a master craftsman in possession of one of the most impressive personal collections of boutique and custom-built electronic instruments in existence. The Electronic Music Manuscript is Premium Collection goods all the way, a 24-bit, 2CD package that features detailed notes and photographs, a collection of ready-to-load Native Instruments Battery kits, and two exclusive videos that describe the creative process behind the making of this extraordinary title. Explore the manuscript and become enlightened to the Richard Devine approach to building new sonic temples of electronic music and sound.
Pulse: Pure Analog Lifeforms is a rare and perfect exhibition of vintage and new school sounds. Created by Richard Devine and Josh Kay, the team that delivered Sony’s top-tier Electronic Music Manuscript title. Pulse contains all the musical maps and charts you need to plan and execute your own fantastic voyage through entire worlds of electronica, hip-hop, and film music. With classic analog sound streams tapped from hot Buchla, Doepfer and Cwejman electronics, and beat structures forged in a deep neural network of today's finest soft synths, Pulse is completely packed with royalty-free sounds, each one organized and fortified with spot-on metadata that ensures seamless playback in ACID software and every other program that supports .wav files. Blend the essential elements in Pure Analog Lifeforms and build formidable music species adaptable to any inner landscape.
ABOUT THE ARTISTS These libraries were created by DevineSound, a newly formed sound design company that specializes in the creation of audio content for film, television, gaming, audio hardware/software, interactive web-based environments, and everything else in between.
DevineSound is currently building an online sound library database & store from which free samples will be offered regularly. This month they are offering 3 free custom sample kits made from a heavily modded ARP 2600, a bent and abused TR-808 drum machine, and a broken & prepared santur. These kits are available for download from the DEVSND Library page.
PULSE REMIX CONTEST & BONUS CONTENT A remix contest for the PULSE library has been launched at ACIDPLANET.COM. Prizes include a Kore 2 controller & Kore Soundpacks, a Sony PSP, Sony Media software, and many other prizes, all provided by Sony Media and Native Instruments. Richard and Josh have collaborated on the original track - Pulse Mix, for this composition contest using loops from our new Pulse library. More than 60 free exclusive loops & samples (not included on the PULSE library) are available for free download. Give the track a good listen, and then take the provided contest download and show these two stellar artists that you’ve got the skills to create an amazing mix of your own. Where could the music take you?
This post is developing. Check back for new videos and updates below.
Street price appears to be $999. See dealers on the right for availability. In via Alex Timchak.
"We are delighted to announce the release of Syntakt – the 12 track drum computer and synthesizer that fuses digital and analog synthesis together in one music megabox.
Enter this sonic metropolis and experience epic sounds from the past, while pulling others into existence from the future. Syntakt is a drum specialist, full of percussive possibilities, but its four analog and eight digital tracks can be used for melody, harmony, and bass sounds too, giving you a musical melting pot with dozens of machines at your disposal.
Affect the sound of each machine with the intuitive and playful graphics. Add analog distortion and filtering to your mix or separate tracks, using the FX block. Run wild and free with the four expressive modifiers. Access a variety of different scales via the keyboard mode. And create dynamic soundscapes with its phenomenal sequencer.
The streets of Syntakt are never-ending, the neon lights are never-dimming, its underground is fathomless. Discover worlds within worlds."
"Syntakt is a sonic metropolis of machines, fusing digital and analog synthesis together in one drum and melody megabox. A 12 track drum computer & synthesizer melting pot like Syntakt needs a majestic guide. Let the intrepid Elin Piel show you around the many features at your disposal."
Baseck Plays : Elektron Syntakt : 12 Track Analog & Digital Synthesizer / Drum Computer
"Elektron's newest device is finally here : The Syntakt ! A 12 Track Synthesizer and Drum Computer!
Let's see how far our friend Baseck can push this new machine.
Grab one NOW : https://bit.ly/3EEzgOE
"Our pal Mario from Elektron came down to the Perfect Circuit HQ and walked us through the ins and outs of their newest Synthesizer and Drum Computer : Syntakt
0:00 - Intro & overview
1:30 - Machines & Visual Language
3:27 - Beats To Melt Brains To
3:59 - Modifiers
7:40 - FX Track
11:50 - Outro Jams
"Elektron's new instrument, the Syntakt, is a powerful combination of analog drum sounds, digital synthesis, and new performance features not seen on any other Elektron product. In partnership with Elektron, watch as our host Fess breaks down these features."
"In this video I perform one of my new tracks using the Elektron Syntakt and the Octatrack MK2. All the sounds in this video are from the Syntakt, I am using the Octatrack with my performance template.
"Some patterns I’ve made with Syntakt. No processing.
Things I love: The machines! The flexibility!
It can be so many things.
8 tracks of Model cycles chord machines with deeper control, 2x LFO per track, full envelopes, dual filters, p-lockable FX track. Or half a Rytm , plus new digital drum synth and bass/lead synth machines.
Or a mix between.
All with a tasty chunk of analog Heat drive, filter, and EG, but p-lockable!
There is an inverted envelope shape in the analog fx that I use as a master compressor. The drive is lovely.
I also love using some of the analog kicks with a bandpass filter for textures. Can even get kinda of vinyl pops and clicks out of these.
Can have up to 3 simultaneous analog DVCO machines."
"The brand new Elektron Syntakt is here!
I'm doing a brief overview, followed by a SID emulation rendition of Rob Hubbard's theme music for the C64 game 'The Last V8' from 1985. Then it grows into a live jam, using all the 12 digital and analog tracks of the Syntakt, including the features such as analog distortion.
0:00 Intro
1:50 Song starts
3:57 Live jam!"
Full details:
12 Track Drum Computer & Synthesizer
Enter a sonic metropolis with Syntakt. Analog and Digital synthesis. Drum and melody. In full fusion.
All your sound crafting, sequencing, and performance needs are fulfilled, in an all-round music mega box that fits in your lap. Syntakt is a drum specialist, full of percussive possibilities, but its four analog and eight digital tracks can be used for melody, harmony, and bass sounds too. Experience epic sounds from the past, pulling others into existence from the future.
The streets of Syntakt are never-ending, the neon lights are never-dimming, its underground is fathomless. Discover worlds within worlds. Adore now. Explore forever.
Meet the machines There are 35 sound-generating machines to call on, covering a wide range of drum and melodic sounds. Some machines have been reimagined from Analog Rytm and Model:Cycles, with deeper sound control for the latter, while others are entirely new to the world.
For you to create and personalize your sound, we’ve made sure you’ve got a set of parameter controls tailor-made for each machine. They let you quickly tweak the nature of each type of sound, showing you just the relevant options. Comprehensive without being overwhelming. Let loose with analog or digital overdrive, depending on the tracks you’re playing with.
The graphics more than play their part too, with plenty of animated icons offering visual guidance and extra clarity on how each parameter affects the sound. The joys of tweaking shouldn’t only be for the ears after all.
Special effects Syntakt lets you route any of your synth tracks or external audio sources through the FX block. This gives you analog distortion and filtering, and a couple of LFOs to go to town with. Additionally, you can also call on Delay and Reverb as powerhouse send effects.
And all of the above effects can be sequenced with the FX track. Have them kick in at just the right moment. Add accents and dramatic changes to the selected tracks or external audio. Or use it as a master track for ducking and gating effects.
Modify the moment Wield a little extra trig craft using the four modifiers, offering four varied levels of expression. Configure the first two modifiers to give you the retrig or velocity behavior you desire, and use the other two to access custom intensities of other parameters. They’re ready for action regardless of which synth track you’re using.
And the best bit is that they don’t just give you that extra playability fun in the here and now, you can also capture the moment by recording to the sequencer.
The keys to the city Syntakt’s keyboard mode gives you a whole bunch of different scales to play with.
There are some familiar faces and some maybe a little less familiar for you to try out, helping you discover new places and taking things to another level.
Play across a single octave like on a piano keyboard. Or use fold, and have several octaves laid out in front of you.
Deep sound-shaping Syntakt comes full of filter and envelope goodness. All tracks have a Multimode filter to put to use allowing you to emphasize different parts of your sound, with the digital tracks also able to call on Parametric EQ and a Base-width filter – an additional filter giving you even more sonic control.
Choose from two amplitude envelope types to define the ideal contour of your sound. Try out the ADSR envelope – for your wicked synth lines – or the simpler AHD envelope – perfect for transient percussive sounds.
This is a playlist of ContinuuCon 2016 videos starting with the teaser video. The full playlist follows the description below. Note Tony Rolando of Make Noise's video went up previously here. You can skip any video using the video controls at the bottom of the player.
"ContinuuCon, the First Continuum Fingerboard Conference took place June 9–11, 2016, at the Altamont Theatre in Asheville, NC.
Performers, sound designers, composers and electronic music enthusiasts who attended ContinuuCon explored this uniquely expressive instrument through concerts, workshops, lectures and more. Dr. Lippold Haken, inventor of the Continuum, and Edmund Eagan, developer of the Continuum’s synthesis engine EaganMatrix, were among those sharing their knowledge and musical talents.
With sponsors including the Bob Moog Foundation and modular synthesizer manufacturer Make Noise, the event opened with a reception at the Make Noise factory and included an evening concert, and a dinner (with multiple jam sessions) at Streamside.
Cameras: Geary Yelton, Chris Stack, John Schwenk
Editing: Chris Stack
ContinuuConcert Visuals: Greg Waltzer
Special thanks to: The Bob Moog Foundation, Make Noise, Hong Waltzer, Lora Tannenholz, The Altamont Theater and all the ContinuuCon attendees and guests.
Learn more at continuucon.com and hakenaudio.com/Continuum"
Playlist:
1. ContinuuCon Teaser Video
2. ContinuuCon :: 2016
3. ContinuuCon Quick Take :: Pallav Pandya
4. ContinuuCon :: Continuum History with Lippold Haken - "History and Deconstruction - Dr. Lippold Haken :: A chronological look at the development of the Continuum, from the first design goals to the current state of the art. Including design philosophies and the evolution that has occurred due to exposure to performers and new synthesis techniques."
5. ContinuuCon :: Continuous Pitch-Space Instruments with Dr. Tom Rhea - "A journey through time with the Hellertion, theremin, ondes Martenot, Trautonium, Moog Ribbon, Moog Trazor, and of course now, the Haken Continuum.
Dr. Tom Rhea pioneered introduction of synthesizers internationally as a Moog synthesizer clinician, functional design consultant, artist relations specialist, documentation writer, and marketing executive. Publications include articles and reviews in Computer Music Journal and many owner's manuals, e.g. the Minimoog Owner's Manual.
A noted lecturer on the history of electronic musical instruments, his Ph.D. dissertation on the topic is cited in The New Harvard Dictionary of Music, and in multiple entries in The New Grove Dictionary of Musical Instruments, and now The Grove Dictionary of Musical Instruments, Second Edition.
Conceived and oversaw development of, and wrote the first music for OxyLights, the world's largest permanent music and light installation, as recognized in The Guinness Book of World Records. Artist in Residence at the IEA (Institute for Electronic Arts) 2000-2001 at Alfred University, NY to explore use of DVD technology for presentation of film clips with focus on electronics in the soundtrack.
Cameras: Geary Yelton, Chris Stack
Editing: Chris Stack
Audio: John Schwenk"
6. ContinuuCon :: EaganMatrix pt1 with Ed Eagan - "Design philosophy, the reason for it’s existence, inspirations, why a matrix, what is a matrix, module by module descriptions, simple and complex patching examples, the reasons behind the percular formula construction, integration with MIDI and Max MSP."
7. ContinuuCon :: Tony Rolando on East Coast/West Coast Synthesis - "Make Noise founder Tony Rolando fills us in on the historical differences and similarities in the development of synthesis and electronic music on the East and West coasts. He also includes a demo of Make Noise's new 0-Coast synthesizer module."
8. ContunuuCon :: Continuum Playing Techniques pt1 - "Ed Eagan, Sally Sparks and Rob Schwimmer in a panel discussion and open forum about Continuum playing techniques, and how each has developed their own personal style. Learn more at www.continuucon.com"
"Some years ago the Dutch artist and engineer MarcMarc designed and built by hand a sound device / synthesizer which was a complete breakthough in the scene of electronic music, synthesizers and unusual sound generators: the TD Cross Generator. As it offered so many new and unusual features, completely analogue design, am impressive sound quality and a price hardly anybody could afford (about $25'000.-), the Internet community was all over it. There are several sites that have listed the item in a very complementious way like "The Most Beautiful Thing Ever. MarcMarc TD Cross Generator". You can still find some of them when searching for "TD cross generator".
By a very lucky coincidence (such things aren't bought by an order from you favorite music gear retailer) I was able to aquire it - I could honestly hardly believe it. Yes, there was a learning curve but believe it or not, MarcMarc wrote a dedicated manual for this very device! You find it easily when searching for "marc marc cross generator manual". This shows how much passion and dedication the artist put into this device. The manual describes every section, feature and control.
Soon I mastered the unit and was able to put it in good use for several experimental music projects. The connectivity open worlds of possibilities and allows for further interfacing with other equiment - be it modular systems, guitar FX pedals, external filter etc. The cross modulations which gave the unit its name are incredibly cool and inspiring!
As such a unique device derserves, I used it in my studio only, it was never used live. Applying most care, I used it with filtered current only (Equitech) and took care to keep it clean.
After using it for years, I decided it's time to pass it on to the next lucky owner. I got in touch with MarcMarc to confirm this with him, get his ok and ensure a smooth transition and future maintenance. He's a very nice, kind and handsome guy.
So here it is now, the one and only MarcMarc TD Cross Generator in existence goes to its next owner. Chances are that institutions may aquire it (and hopefully actively use it) since it's not only an ingenious musical instrument, but also a piece of art and one of the pinnacles of conception and implementation of analog electronics for music purposes. This unit might be a unique completion of an existing collection of MarcMarc art"
San Francisco, CA – [October, 22nd, 2024] – As part of the 50 Years of Sequential celebration, the renowned synthesizer company proudly announces the launch of the Prophet-10 Special Edition, a tribute to half a century of groundbreaking innovation in analog synthesis. This exclusive edition, with only 150 made, features exquisite lacewood panels that make each instrument a unique masterpiece.
The All-Natural Elegance of Lacewood While the electronics are identical to the existing Prophet-10 Rev4, the Special Edition is distinguished by its stunning lacewood panels. Sourced from the lush forests of South America, lacewood is celebrated for its intricate grain patterns that create beautiful and varied designs. This exceptional wood not only enhances the visual allure of the Prophet-10 but also honors the long-held tradition of using fine woods in classic analog instruments.
A Collector's Dream With only 150 in existence, the Prophet-10 Special Edition is a rare opportunity for discerning collectors. Each synthesizer comes with a certificate of authenticity, recording its specific serial number, and an embroidered dust cover, ensuring that this piece of musical history is preserved in pristine condition for decades to come.
The Return of a Legend The Prophet-10 is Dave Smith’s ten-voice version of the analog poly synth that revolutionized the music world. Known for its warm, organic, and dynamic sound, the Prophet-10 combines all three revisions of the legendary Prophet-5 synth — Rev1, Rev2, and Rev3 — with a Rev switch that allows users to choose between the two distinct filter designs. The Prophet-10 Special Edition also includes the Vintage knob to fine tune instrument’s character, Poly Mod for wide timbral flexibility, and velocity sensitivity and aftertouch for new levels of expression beyond the 1970s Prophets, making it as versatile as it is powerful.
Experience the Prophet-10 Special Edition Sequential invites professional musicians, collectors, and dedicated synth enthusiasts to experience the Prophet-10 Special Edition. This deeply organic lacewood edition is more than an instrument; it's a piece of history, a testament to Sequential's unwavering commitment to creating inspiring instruments for generations of artists.
About Sequential Sequential is a leading manufacturer of high-quality analog synthesizers, known for their innovative designs and commitment to excellence. Founded by Dave Smith, Sequential has been at the forefront of the music industry for 50 years, creating instruments that have shaped the sound of countless hit records.
Specifications Hardware • Two authentic CEM 3340 VCOs per voice with simultaneously selectable wave shapes • Pulse width per oscillator • Hard sync: oscillator 1 syncs to oscillator 2 • Oscillator 1, 2 and White Noise amount • Four-pole, resonant, low-pass filter per voice, switchable between authentic versions of the Prophet-5 Rev1/2 filter and Prophet-5 Rev3 filter • Filter can be driven into self-oscillation with the Resonance control • Four-stage (ADSR) envelope generators, one for Filter and one for Amp • The LFO features three wave shapes: sawtooth, triangle, square • Poly Mod sources, filter envelope and oscillator B, can be set to modulate oscillator A frequency, oscillator A pulse width, or filter cutoff • Channel (mono) aftertouch destinations: filter cutoff frequency, LFO amount • Bi-timbral operation, Layer mode: two different 5-voice programs stacked together simultaneously, and Split mode: two independent, user-assignable performance zones, with a different 5-voice program assigned to each. • Full-sized, semi-weighted, premium Fatar 5-octave keyboard with velocity and aftertouch • Polyphonic glide (portamento) • Unison (monophonic) mode with configurable voice count, from one to all ten voices and key modes Enhancements • Vintage Knob recreates the characteristics of various Prophet-5 models by varying the behavior of oscillators, envelopes, amplifiers, and other parameters • Oscillator 2 can be set to Low frequency mode and have Keyboard tracking turned on or off • Velocity modulation of envelope amount for more dynamic Filter and Amp control • 200 user and 200 factory programs in 5 banks of 40 programs each Ins & Outs • Mono output (1 x 1/4” phone jack) • Headphone output (stereo, 1/4” phone jack) • MIDI in, out, and thru ports • USB for bidirectional MIDI communication • CV and Gate inputs and outputs • Low-pass filter cutoff expression pedal input • Volume expression pedal input • Sustain footswitch input • IEC AC power inlet for internal power supply, operates worldwide on voltages between 100 and 240 volts at 50 to 60 Hz; 28 watts maximum power consumption
"DELTA MUSIC RESEARCH STUDIO SYSTEM 1100
POLYPHONIC ANALOG MODULAR SYNTHESIZER, SERIAL No. 003
This is my fantastic Delta Music Research Studio System 1100 Polyphonic analog modular synthesiser. Built in Canada it's thought by ex-Moog technicians, there are very few of these systems in existence and this is Serial No. 003. It's probably the only one in the UK, though there are other users still in Canada and the USA.
The 1100 has all the advantages of an analog modular system and none of the disadvantages. Firstly although it appears modular, you don't have to install modules individually as they all share a large control panel circuit board, so there's no fiddly screw mounting system. In any case it's hard to see why you would ever want to change any modules when you have this great specification -
4 x Voltage Controlled Oscillators (switchable audio/LF)
4 x Voltage Controlled Envelopes
4 x Voltage Controlled Amplifiers
2 x Low Frequency Oscillators
2 x 4-channel mixers
2 x Voltage Controlled Filters
White/Pink Noise source
4 x Voltage Attenuators
6 x Multiples
Balanced Modulator
Inverter Summer
Voltage Controlled Flanger
Springline Reverb
Because the system has four of most modules and comes complete with a microprocessor controlled four-voice polyphonic keyboard, it's designed to play as a polyphonic analog synthesiser comparable to a polyphonic MiniMoog or an Oberheim 4-Voice. But mostly you'd use it in monophonic mode, and with the ability to modulate oscillators at audio frequencies and add voltage controlled flanging, it's capable of some incredible abstract sound textures. It's easily the equal of an EMS Synthi VCS3 in terms of being able to create and sustain its own evolving, clangourous and metallic sonic landscapes.
The system cabinet is 24.5 inches wide so this is a much more impressive object than the usual 19-inch systems. As such it would make an incredible centrepiece for an advanced analog or sound effects programming studio. Included also are the keyboard, box of patch cables, and 110V convertor for use in the UK (this powers both modules and keyboard).
Physical condition is very good. Some minor marks on the black tolex covering. One knob cap damaged but working (it may take you half an hour to spot which one).
