9000 Foot Piano Add-On for the Sequential Prophet XL

via Sequential

"Christian Henson of Spitfire Audio has released The 900 Foot Piano, the latest offering in his Pianobook project of notable pianos.

The 9000 Foot Piano spotlights an exceptional Yamaha baby grand piano that has been featured on countless soundtracks and records. The Add-On is available for free download at the Pianobook site and is offered in a variety of formats, including a Prophet X/XL compatible version.

Pianobook a collective sample project that aims to bring together a community of like-minded music makers to talk about their stories through the pianos they use, admire, and are inspired by. It is Henson’s belief that every piano has a story and that by sampling the instrument and telling its story, a whole new world of inspiring sounds, textures, and instruments can be created. As Henson puts it, “Pianobook is a place to share stories, create something extraordinary, and learn something new about each other and our ourselves.”

Check out the history of The 9000 Foot Piano in this video."


Published on Sep 20, 2019 Christian Henson Music

Find out more about Ross' work here: www.rosslara.com

Pocket Piano MIDI - Critter & Guitari

YouTube Uploaded by CritterGuitari on Nov 2, 2011

"The new Pocket Piano MIDI from Critter & Guitari. All the great sounds of the original Pocket Piano, now with MIDI capabilities!

Chain them together to create complex arpeggiations and/or multitimbral synthesis! Also works as MIDI controller or slave to other MIDI devices. Make music with it on stage, your front porch, in the studio and outer space!

An intuitive interface and sleek design complement the six unique sound modes:
• Vibrato Synth
• Harmonic Sweeper
• Two-Octave Arpeggiator
• Octave Cascade
• Mono FM Synth
• FM Arpeggiator

The Pocket Piano is housed in a sturdy aluminum and hardwood case and also includes MIDI In/Out/Thru, a built-in speaker, a 1/4" output jack, and wooden keys made for a refined touch. It can be powered both by a 9V battery or a wall wart (not included). Each mode is indicated by its own color LED.

Assembled by hand in Philadelphia.


Directed by Antonio Santos.

Many thanks to Phil Pinto, Fast Ashleys Studios, Kit, Erika, Nytyly, Mendeley Wells, Ross, Devin!

www.critterandguitari.com
www.facebook.com/critterandguitari
www.twitter.com/critterguitari"

VCOADSR Piano Phase minus Piano - Bells N Whistles Crackles N Pops 2016

Published on Jul 9, 2017 DivKidVideo

"Here's VCOADSR live from Ross Lamond's Bells N Whistles Crackles N Pop event back from November 2016. Bit of a 'from the archives' vibe with this as I captured it all at the event (obviously) and then haven't had chance to get to it with other work taking priority but ... VCOADSR gave us a treat with his eurorack modular take on Piano Phase but minus the Piano.

His set up looks to include a TipTop Audio Circadian Rhythm, Orthogonal Devices ER101 and ER102 expander, Audio Damage ODIO, Pamela's Workout from ALM Busy Circuits, Humpback filter from GOD's BOX and WMD PDO, ALM Busy Circuits Beast's Chalkboard, Make Noise Pressure Points, TipTop Audio Z-DSP and the new Richie Hawtin DJ Mixer alongside the Elektron Analog Heat. There's also a 1U set of tile modules and a few others I can't see under the tightly packed and tidy cable work."

Backrooms - 'People in San Jose' (Synth Cover) [Prophet rev2 + Korg MS-20]

video upload by Ross Piano

"Another one of my favourite cues from the Backrooms score. As I recall, this piece accompanies a montage of establishing shots of San Jose, early in the first act. The piece is in G minor and is built around 2 different ostinatos. Both ostinatos have chromatic notes that create a sharper and more mysterious atmosphere. The first (0:00) features both the natural and raised third (Bb and B natural). The second (0:23) features the raised 6th (E natural), transforming G minor into G dorian. However, the minor 6th (E flat) appears in the melody (at 0:45) creating a contradiction between these two layers. This ‘contradiction’ creates interest and tension.

This arrangement had too many separate layers to feature them all on screen simultaneously. For this reason, the individual screens cut between various sounds/patches.

In addition to all the parts you see on screen, I recorded some ambient drones. I decided not to film these, as the screen would become crowded with shots of me holding down a single note haha.

All these sounds are designed from scratch on analog synthesizers (a Prophet rev2 and a Korg MS-20). I mix in Ableton, where I add additional effects (reverb, distortion, delays etc.). In this case, most of the effects were from Soundtoys.

Download MP3: https://drive.google.com/file/d/1a3II...
Download WAV: https://drive.google.com/file/d/1gt2f..."

Yamaha Transacoustic Piano, reface DX and MIDI Designer XG

Published on Feb 20, 2017 MIDI Designer

"Yamaha U1 Transacoustic Piano, Yamaha reface DX, Yamaha Bluetooth MIDI dongle and MDXG: XG Sound Set Controller by Craig Knudsen. In this video: Dan Rosenstark (Author & CEO, MIDI Designer), Craig Knudsen (Yamaha) and Aaron Ross (Yamaha Artist Services, New York City)."

"Hand Covers Bruise" by Trent Reznor/Atticus Ross, cover/demo Soma Labs Lyra-8

Published on Jul 16, 2019 Mattelica

"Live take of "Hand Covers Bruise" By Trent Reznor and Atticus Ross from The Social Network Soundtrack, cover/demo with the Soma Laboratories Lyra-8 + Hall of Fame Reverb + E-mu Proformance 1 Grand Piano (midi controlled by the Korg Monologue) to a Roland VS880 HDR to a Canon 6D +50mm 1.4 lens."

In Motion - The Social Network - Trent Reznor and Atticus Ross

YouTube Uploaded by ScrollingMusic on Jul 13, 2011

"Excerpt from "In Motion," featured in the 2010 film "The Social Network." Music by Trent Reznor and Atticus Ross.

The soundtrack to "The Social Network" received widespread acclaim when the film was released. It has one both the 2010 Golden Globe and Academy Awards for best original soundtrack. This particular track is featured early in the film, during the scene where Mark Zuckerberg is hacking onto the Harvard house servers and downloading pictures of undergraduate girls to create his comparison site, facemash.com.

The electronic sound of this track is well-suited to our Matlab synthesizer. This rendition closely mimics the sound of the original, but we did not design any new instruments. In fact, the mix here contains some of our earliest Matlab instruments (sax, guitar, triangle wave.) We did not use a MIDI file to sequence this track. Instead, we fed the image displayed in the video to our synthesizer, and it interpreted the "piano-roll" notation to create this rendition."

Synthesizer Performance Ensemble-BerkleePiano Dept.student concert-Part 1

YouTube via berkleepianodept. Yamaha Motif Ensemble
"From Berklee College Of Music Piano Department Student Concert 2009

Koichi Komura-Synthesizer
Yoon Ah Oh- Synthesizer
Pier Luigi Salami- Synthesizer
Seonhee Yang- Synthesizer

Ross Ramsay-Faculty Director"

Synthesizer Performance Ensemble-Berklee Piano Dept. student concert-Part 2

Bells N Whistles Crackles N Pops 2016

Published on Jul 16, 2017 DivKidVideo

Playlist:
VCOADSR Piano Phase minus Piano - Bells N Whistles Crackles N Pops 2016 [previously posted]
Eden Grey - Bells N Whistles Crackles N Pops 2016
BlueWolfSe7en - Bells N Whistles Crackles N Pops 2016
Richard Quirk - Bells N Whistles Crackles N Pops 2016
Owen Canivet & Michael Walton - Bells N Whistles Crackles N Pops 2016
Scanner & Ross Lamond - Bells N Whistles Crackles N Pops 2016

Ross Totino Yamaha fs1r presets and Formant Sequences

video upload by Ross Totino

"Video demo of some presets I created with the Yamaha fs1r synthesizer. Some of these presets feature 'Formant Sequences' which were a huge selling point for this instrument enabling the creation of human vocal timbres as well as other more experimental sounds. All of the examples here feature MIDI CC of parameters. Most of the sequencing was done with Five12 Numerology. Some of the drum sounds were just factory presets. All effects are from the fs1r built in effects. Recorded into Logic. Enjoy!

00:00 - Intro
00:04 - Vocal Formant Sequences
03:57 - FM Bass
05:49 - Marimba
07:48 - Drums
08:09 - Gamelan
09:07 - Log Drums
10:08 - Glitch Sequence
11:02 - Drum Kit multitrack
11:55 - Frequency Sweeps
13:27 - Chrome Rain
13:56 - Brief Communication
14:54 - Modem
15:58 - Probe 1
16:45 - Probe 2
17:23 - Careerer
18:21 - Enchanted Pad
19:22 - Sync or Not
20:00 - Twinkle Piano
21:06 - Submersive"

Trent Reznor and Atticus Ross - In Motion - Modular synthesizer cover

Published on Mar 3, 2019 joeSeggiola

"From The Social Network ‎original soundtrack (2010, The Null Corporation).

I was trying to recreate the easiest parts of my favorite track from The Social Network's OST in my modular system. It soon became an exercise in using all the modules simultaneously. Recorded in February 2019.

Both drum sounds are created feeding signals from MFB OSC-3 into LxD vactrols, which are opened with Maths envelopes; the kick drum is a pitch-modulated triangle wave, the hat is from the white noise output. Intellijel Shifty is used like a gate sequencer to alternate kick/hat triggering. Two segments from Mutable Instruments Stages are used as faders for controlling drums' volume in Veils.

The bass sound is made with the Minibrute 2 using two saw oscillators one octave apart, with the LP filter controlled by an AD envelope from Stages. Pitch CV is manually triggered tapping buttons on the Korg SQ-1 in "step jump" mode; CV Out is sent to the SSF Modbox S&H for tempo quantization and to a slew-limiter made with Stages for slight portamento. The Minibrute mod-wheel is patched to increase the decay time of VCA and VCF envelopes, so it can be used to gradually control legato.

The 64-notes arpeggio is a square wave from MFB OSC-3, sequenced with the Minibrute (whose pitch CV is free to be used since does not control the on-board bass sound) and filtered with Bastl Cinnamon. A button on the second SQ-1 track is used to control Veils to un-mute the arpeggio at will. Digitech Obscura Altered Delay's mix and repeat controls are used to create the messy ending.

The piano-like long notes are pre-recorded in the Morphagene. A "distortion effect" is applied in real-time using the Minibrute's metalizer wavefolder, modulated by Morphagene's envelope follower. The sample doesn't loop, it's triggered using clock divisions.

Everything is mixed and sent through three guitar pedals: OBNE Dark Star for shim reverb, then a little room reverb and a compressor at the end."

NAMM: Buchla Acquired by Former Industry Veterans?

via DedMousie aka Les Mizzell on Muffs:

"... some industry veterans (including Michael Marans, former Keyboard tech editor) have acquired Buchla & Associates, with Don Buchla now acting as Chief Technology Officer for a new company, Buchla Electronic Musical Instruments. They have some really exciting plans for new products that Don's wanted to do for a long time, and now has the resources to do so."

I checked with a source and this one just might be true. No formal announcement on the Buchla site. Note this is speculation until confirmation.

This one in via Soviet Space Child.

Update 1/20/12: and we have confirmation from Synthopia (note the new keyboard controller):

"At the 2012 NAMM Show, several interesting announcements were made about electronic music legend Don Buchla, above, and the future of his electronic music instruments:

His company, Buchla & Associates, has been acquired by a group of investors, who are creating a new company Buchla Electronic Musical Instruments. Buchla wil be the Chief Technology Officer of the new company. The organizational change will bring design, manufacturing, sales and marketing resources to Buchla. The intent is that, by freeing Buchla from some of these areas, he’ll be able to spend more time to ‘introduce more innovations in music technology’, expand the Buchla product line into new areas and make his instruments available to a wider range of musicians.

Buchla also introduced a new modular synthesizer, the Buchla Skylab. The Buchla Skylab is a compact and slightly more affordable configuration of the Buchla 200e modular line.

Finally, Buchla announced that, after 50 years of not making a keyboard for his synthesizer [Buchlas aren't known for piano style keyboards, but he did have polyphonic keyboards with velocity and aftertouch in 1971 - 237/238 in 1971, touche in 1979 and the 406 in 1983 - see the Buchla 406 here.], that there will finally be a Buchla Keyboard controller. The Buchla Keyboard is currently in early stages, but don’t plan on it being a standard control keyboard. Buchla Electronic Musical Instruments expects to release a keyboard design that is as different from other keyboard controllers as its modular synthesizer is from other modulars."

Update 1/26/2012 via Ross Healy of Vicmod:

"The 3 owners are Aussies all working in the music equipment business and huge synth lovers. Lewis Chiodo, John Fuller, Danny Olesh are the new owners of Buchhla Electronic Instruments. Michael Marans is CEO in the US. Their intention with Buchla Electronic Instruments is to keep the brand as cool as it has been in the past allowing Don to do what he excels at ( creating/ designing). I have no doubt this will be a brilliant future for our beloved Buchla and Don/ Ezra etc. I have known Lewis for 12 years and believe me this guys LOVES synths/ playing synths since he was age 5."

Synths Used in the original Terminator Soundtrack

via Micke on the AH list:

"here's a gear list for the original Terminator score (1984):

Oberheim system (OB-Xa, DMX and DSX)
Emulator I
Prophet 10 (used for the metallic heartbeat sounds when Arnie's on screen)
Kawai grand piano
electric violin (played by Ross Levinson)
And last but not least, the cast iron frying pan hit with a hammer

I was told by Brad Fiedel that one of the challenges was keeping the prophet sequences and the Oberheim in sync as they were not connected by midi at that time.

The Fairlight CMI III debuted on Terminator 2"

An Interview with Barry Schrader

Hi everyone! As you know Barry Schrader will be giving his farewell concert at CalArts on September 26. The following is the beginning of my interview with him. I opted to post the questions and answers as they come in.  New QAs will get a new post so you do not miss them and they will be added to this post so we have one central post for the full interview. This should make it easier for all of us to consume in our busy lives, and it will allow you to send in any questions that may come to mind during the interview process.  If you have anything you'd like to ask Barry, feel free to send it in to 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!

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