Slideshow of Richard Lainhart's lecture at the Bellingham Electronic Arts Festival (BEAF), Friday, May 6, 2:PM PST, 2011 (mentioned in this post). Below is a video of the Buchla and Haken Continuum portion of the lecture followed by a performance of Olivier Messiaen's Oraison written for the ondes Martenot at the 48:00 mark (see this post for the original version and this post for another performance by Richard). You will notice Richard makes references to earlier parts of the lecture. These included his training on the CEMS modular synthesizer system and the ondes Martenot (don't miss this post and this post on the CEMS). See the labels at the bottom of this post for more info on each. I will upload those videos at a later date. They were background to Richard's experience with early modular synthesizers and controllers that eventually lead him to the Buchla and Haken Continuum. It was a great lecture and I hope you enjoy it. Be sure to bookmark this one. I also want to thank Richard Lainhart for doing lectures like these. They are a rare treat.
YouTube Uploaded by matrixsynth on May 19, 2011
The following is a full transcript. BTW, if anyone is interested in transcription services, let me know.
"RICHARD LAINHART: BUCHLA AND HAKEN CONTINUUM LECTURE
Speaker: Richard Lainhart
Lecture Date: May 6, 2011
Lecture Time: 2:00 p.m. PST
Location: Western Washington University
Event: Bellingham Electronic Arts Festival 2011 (BEAF)
Length: Digital AVI recording; 57 minutes 32 seconds
[Beginning of recorded material]
Richard Lainhart: Okay. What I want to do now is actually talk a little bit about the system itself here and about the design of the system and explain what's actually happening here and why it's designed this way, and again, my focus on, on expression. So this is, as I mentioned, this is the Buchla 200E. This is a current electronic music instrument that is still being made now by Buchla. Don Buchla again was a contemporary, or is a contemporary of Bob Moog, and he took a very different path than Moog did. And one of the reasons I think that Moog's instruments became so popular, of course the Mini Moog was like the first real break-out electronic music synthesizer, was that Moog's instruments had keyboards on them. They had black and white keyboards. And you could use them to play, you could use them to play rock and roll with them basically because you could plug them into a really loud amplifier and it could be louder than a guitar. And it could be a bass, you know, it could be louder than a bass and all that sort of stuff. And of course a lot of, you know, a lot of wonderful music was made with that instrument.
"In 1985, Korg's DW-8000 combined digital wavetables with rich analog filters to
give users sounds which were impossible to create with analog oscillators. It's
still a cult favorite today.
modwave builds upon the DW legacy with incredibly deep wavetable oscillators,
gorgeous filters, first-ever Kaoss Physics-based modulation, unmatched
polyphony, comprehensive pattern sequencing, and immediately satisfying hands-on
control to deliver unique, powerful, and easily customizable sounds and
phrases."
"Synthesis powerhouse with distinctive wavetable timbres, Kaoss Physics, and Motion Sequencing 2.0.
In 1985, Korg's DW-8000 combined digital wavetables with rich analog filters to give users sounds which were impossible to create with analog oscillators. It's still a cult favorite today.
modwave builds on the DW legacy and transforms it into a modern monster synth, featuring incredibly deep wavetable oscillators, gorgeous filters, wildly flexible modulation, unmatched polyphony, comprehensive pattern sequencing, and immediately satisfying hands-on control to deliver unique, powerful, and easily customizable sounds and phrases.
modwave also introduces two unique new tools for creating dynamic motion: Kaoss Physics and Motion Sequencing 2.0. Kaoss Physics combines an x/y Kaoss pad with modulatable game physics to create a responsive, interactive controller that is—besides being powerful— a lot of fun to explore. Motion Sequencing 2.0 brings the organic, continuously evolving patterns of the wavestate's Wave Sequencing 2.0 into the world of motion sequencing, including multiple lanes and real-time recording to help you create complex and evolving phrases that other step sequeners cannot.
Like Wave Sequencing 2.0 (wavestate) and altered FM (opsix), modwave’s evolved wavetable synthesis delivers its own brand of completely unique sounds and a knob-per-function layout that makes customizing those sounds fast and easy. To start, there are hundreds of preset sounds empowered by this new architecture, organized by front-panel category buttons, and all instantly customizable via the four Modulation Knobs. modwave's distinctive wavetable timbres start with aggressive basses & leads, and lush ambient pads which will add a new dimension to your tracks. But that is just the start. Those who want to dig deeper will find an endless source of discovery; you'll be finding new things in this synth for a long, long time because of the unique synth architecture. Once you have started finding new sounds - aave as many as you like; there's room for thousands more."
"Mimetic Sequent came out a few years ago and it’s the module of ours we think people are most confused about. So today we wander into the weeds with MS and its expander, Mimetic Multium. Good luck! You’ll need it! Just kidding! Not really!
OK, BUT REALLY, WTF IS MIMETIC SEQUENT
It’s a random CV source, a CV recorder, a CV randomizer, a quad random trigger generator (with its expander), and a whole lot of fun.
When I first got my MS and MM, I was confused, dazed, confused, and also confused. There were a lot of switches that all seemed to interact-- but how? There was a big, enticing knob in the middle. And there were buttons. Oh the buttons. What did any of these things do? Let’s talk about the Random knob first, because it’s kind of the point of MS.
"One complete Folktek Mescaline with frame power supply and collection of duPont patch cables. This is a hybrid of V2 Channel and V1 Motion and V1 Mental.
This unit is in great shape. The only blemish of note is 1 patch point that shows some wear but is fully functional. See pics for detail.
The power supply has a 3 part pigtail that powers all three modules from a single wallwart rated at 1500ma.
Includes original manual and some other info.
Mescaline is one of the finest times you'll have. It might seem intimidating at first but ultimately once you dive in, you realize there was nothing to fear and it's only here to help open you to extreme possibilities. It's capable of creating entire compositions and the possibilities are vast. -
Each of the 3 boards are eurorack compatible and can be installed in a eurorack system individually or all together. Each has its own eurorack power plug on the back. Each module is 44HP Each of these boards is capable of being powered on a standard 12v adapter. Each has a 2.1mm jack on the back. When used together, all power can be jumped to power all three boards off the same 12v power source or eurorack power source. A 12VDC power supply and 3 way jumper is included in this sale.
CHANNEL A 10 note polyphonic synthesizer with a sweet, warm sound and a huge custom designed reverb which also has an audio input and can be used to process external sound. Channel becomes a powerful effects processor with some very nice DSP designs we've been working on for the past year. -A touch-based synth which provides a sweet sounding 10 key oscillation based 10 filtered and reshaped analog square wave oscillators, each with a decay on the amp. -Each key is tuned individually and can be tuned to specific notes on the back via tuning trim pots so you can create intervals or pitch arrangements as you like. -Master pitch control (with control voltage) lets you change the tuning of all notes simultaneously. -10 note polyphony and all notes can be triggered. -Synthesis passes through any of 4 selectable custom DSP effects - reverb which is huge and near infinite, notated tight delay, pitch shifter delay and palindrome reverse delay. Each effect has mix, two controls over effect changes and a low pass filter or damping.
V2 has Gain stage adjustments on Channel V2 Noise filtering on Channel V2 pitch range trim pot added to allow for great control of the master frequency
-3.5mm jacks represent audio in, audio out (x2 = right and left), cv in. -Jumpable headers for all functions as well as power.
MOTION Motion is made up of two sequencers with simple but fully-capable function and some added function that other things don't/can't perform that help Mental to really shine. Both sequencers have clock division to break the rhythm but perhaps most important is how the trigger sequencer works - using opto-couplers (switches) to trigger parts within Mental to create sounds, textures and rhythms that voltage sources simply can't. It does this by directly connecting multiple parts within Mental. The CV does a great job of synching Channel.
Motion also has sine modulation (vactrol or cv), gate triggers, resets for the sequencers to determine sequence length, and can got into chaotic territory but jumping voltages into the clock inputs. -8 part CV Sequencer -8 part trigger sequencer with multi-add functionality -5 part clock division for each sequencer -vactrol-based sine modulation -3.5mm jacks represent clock in, cv sequencer clock out, cv sequencer cv out, modulation out, trigger sequencer clock out. -Jumpable headers for all functions as well as power.
MENTAL Capable of so many things. It's an incredibly unique drum synth that will create odd and beautiful beats for days. It's a Drone synth that's generates some incredibly rich drone with multi-oscillation and in-circuit filtering. It's an audio processor that can take any incoming audio and chop it into place, filter it, distort it and screw it in ways that nothing else does. -Based on the root synthesis of other Folktek instruments Materia, Mentalis and Matter. -17 input points to control synthesis and filtering via the sequencer trigger or cv points as well as the clock division points. -removable breadboard to allow for development and experimentation. -4 patchable pots to attenuate signals and gain more control *and/or* create direct patches to create drone scapes or use Mental as an audio processor. -volume control -3.5mm jacks represent audio out and two vacant with representative headers to input voltage or audio signals from external modules or audio sources. -send Mental to the input of Channel to add reverb to the signal. -Jumpable headers for all functions as well as power."
Via the Grant Richter of Wiard on the Wiard Group:
"During the month of June, 2007, notable composers Gary Chang and Neil Leonard will visit several sites in Italy with the task of completing 5.1 installations of a program of music entitled "Sanctuaries," which are meditative ambient analog electronic music pieces composed by Chang and realized on a Wiard Modular Music System, specifically designed for playback in churches and other public locations.
The tour is sponsored by Sguardi Sonori 2007, Festival of Media and Time Based Art, for which Leonard is a also a curator.
The cities in the tour will include Rome, Benevento, Torino, Venice, San Galgano and La Spezia. While in La Spezia, Chang and Leonard will also have access to the Naval base, where there are very large rooms (indoor drydocks for warships, for instance) and other interesting ambiances, such as marble quarries and museums, where further explorations in unusual ambient spaces will be recorded and cataloged.
Utilizing Blue Sky Monitors and extensive Taralabs wiring at each installation, each location will be recorded using a Soundfield SP422B mic, which is a recording system that can yield from mono up to a 7.1 playback. Recording will be achieved using a tcelectronic Konnekt Live, interfacing to a laptop computer and portable firewire drives. In addition, Impulse Response data will be collected from each of the locations to create a library of interesting convolution reverb spaces for McDSP's Revolver.
Following the Italian journey, Chang and Leonard will give many presentations on the project, including a workshop presented by GASP Gallery in Brookline for senior students in electronic music at Berklee College of Music.
This project would not be possible without the generosity of sponsors, who include The City of Rome; The City of Venice; La Marrana - environmental art park, (for graciously coordinating recording and installation sites during a week long residency in La Spezia); Sguardi Sonori 2007, Festival of Media and Time Based Art; Blue Sky Speakers; TaraLabs Cables; tcelectronic digital audio interfaces and processors; The Wiard Synthesizer Company; Transaudio Group/Soundfield Microphones and The Berklee College of Music.
Confirmed Schedule - (Actual locations to be announced).
June 12/19 LA SPEZIA June 20 ROME June 21/22 BENEVENTO June 23/24 TORINO June 26/27 VENICE June 28 SAN GALGANO (Installation includes "Echoes and Footsteps" by Neil Leonard in addition to "Sanctuaries") June 29 - July 4 LA SPEZIA
SANCTUARIES An installation by Gary Chang and Neil Leonard San Galgano, Sienna, Italy
NOTES: GARY CHANG The music entitled "Sanctuaries" that I have composed for installation in churches is designed for such an environment of spirituality and meditation. The musics are ambient in quality, designed to fill the space with warmth and emotion, but never does the musics every confront the visitor - though there is some abstraction, the dynamics of the pieces are quite controlled, never overtly dramatic. In the best of all things, I am hoping that the music installation will simply be another contributor to the specialness of the Church's ambiance - my special prayer in the space. In loving memory of Diana Lee Chang.
NOTES: NEIL LEONARD Echoes and Footsteps is a reflection on the sound of Italy, where I lived and work for much of 2006. The primary sources are the sound of cowbells recorded in the region of Lazio, and the songs of workers celebrating the end of the work day in the Palazzo di Ragione market in Padova. The pointed gestures of the bells and bursts of cathartic song were transformed using time-stretching and delay techniques. The resulting composition evolves in slow motion and outlines large sonic contours that celebrate the essence of daily life as I head it while living here.
GARY CHANG SHORT BIO Sound artist and esteemed film composer Gary Chang worked his way up through the LA studio musician ranks playing with the best musicians in the country (e.g. Robbie Robertson, Herbie Hancock and Weather Report, Barbara Streisand and Henry Mancini,) later to compose music for many eminent filmmakers (including John Frankenheimer, Jonathan Demme and Stephen King). Few composers have mastered such a wide range of musical genres that Chang has (orchestral, electronic, installation, jazz, soundtrack, dance). Chang is a protagonist in the field of music synthesis. He has recorded on and programmed almost major every hardware and software synthesizer over the last thirty years, built dozens of custom systems, and designed a personal studio that is optimized for recording synthesizers in multi-channel and high definition audio. Chang won the National Endowment for the Arts Grant for Jazz Composers while attending California Institute Of the Arts. Chang is a pioneer in the use of 5.1 surround sound in cinema, concert and installation settings.
NEIL LEONARD SHORT BIO NEIL LEONARD is a sound artist, composer and saxophonist. His compositions are a synthesis of concert, improvised and electronic musics that transcend categorization. Leonard's recently premiered works include Dreaming of an Island for orchestra, electronics and live-video (performed by Kirk Trevor and the Indianapolis Chamber Orchestra), Totems (performed by Byron and Caine at Carnegie Recital Hall in New York City), and the music for Relatives (by Tony Oursler and Constance DeJong that was featured at the Whitney Biennial). His collaborative work with visual artist Maria Magdalena Campos-Pons was featured by premier venues for modern art including 49th Venice Biennial; Museum of Modern Art, NY; and presented by the U.S. State Department at DakArt/Dakar Biennial in Senegal.
Leonard is co-owner of Gallery Artist Studio Project GASP and curator of the GASP sonic arts series in Boston. His ensemble has featured Marshall Allen (Director of the Sun Ra Arkestra), Bruce Barth, Dave Bryant, Don Byron, Kenwood Dennard, Robin Eubanks, Frank Lacy, Jamaaladeen Tacuma, and Uri Caine.
Neil Leonard is an Associate Professor in the Music Synthesis Department at Berklee College of Music.
ACKNOWLEDGEMENT Mr. Chang and Mr. Leonard wish to thank Bruce Weisberg of Blue Sky Speakers, Rebecca Barnhardt of TaraLabs Cables, Ed Simeone of tcelectronic, Grant Richter of The Wiard Synthesizer Company, Bradley Lunde at Transaudio Group/Soundfield Mics, and Carl Dito at Coast Audio for their sage advice and contributing their companies' products on behalf of our project. Gary wishes to thank his family, Ann and Arthur Chang and Margaret Craig-Chang.
Special thanks goes to Stephen Croes and Kurt Biederwolf of Berklee College of Music for their continued support.
Thanks to Anthony Baldino, Tara Sarmov and Pierce Warneke, students of the Music Synthesis Program at Berklee College of Music for assisting with the installation.
Extra special thanks are extended to Carlo Fatigoni, Sandro Cecchi and Marisa Corazzol of Sguardi Sonori 2007. Maria Magdalena Campos-Pons of Gallery Artists Studio Projects GASP Gallery, Colonel Sergio Cavanna of The SAVTAM Aeronautica Militare, Cadimare - La Spezia Italy, and Gianni and Grazie Bolongaro of La Marrana di Montemarcello, La Spezia Italy."
Roland has announced a new TR-8 with sample playback and sample import (no live sampling), available this month for $699 / €699 (with VAT). Note the included classic TR engines are still ACB modeled and not sample based. You can mix and match kits. Details follow.
"Introducing the Roland AIRA TR-8S: Rhythm Performer Meets Sound Designer.
The performance-tuned TR-8S combines stereo sample playback with iconic Roland TR- drum sounds and deep editing parameters to allow you to craft your dream drum kits. New sequencer, motion-recording, and increased variations, effects, and outputs are some of the features that have evolved the TR- drum machine to set a new standard in sound design and live performance."
"Born of the most famous and influential drum machines ever made, the TR-8S combines the best of its Roland heritage with modern production techniques and professional sound design.
The result? A forward-thinking, performance-tuned instrument unlike any other. Build your dream kit from the most iconic drum sounds of all time,
plus the finest selection of samples from our vast library—or import your own custom samples. Tap, tune, and tweak with hands-on controls and production tools that make your patterns move and groove. And why keep this kind of percussive power confined to the studio? The TR-8S was literally made to play live.
Design Kits with Authentic TR Drums,Sampled Sounds, and Effects
The TR-8S comes loaded with the largest, most authentic collection of TR drum machines available. The powerful new processor gives our next-generation ACB models a whole new level of detail and nuance, giving you that classic Roland boom, snap, and sizzle. And now you can incorporate preset and custom samples, creating unique hybrid and layered kits, and enhance them with specialized effects that inject professional sound design into the TR formula.
Transistor Rhythms
The TR-8S has every sound from the most sought-after TR drum machines, with detailed circuit-models of the 808, 606, 909, 707, 727, and even several modified versions. These are not sound-alike sample-packs or mere recordings of TR drum sounds. Each machine is a detailed, down-to-the-circuit-model that sounds and behaves exactly like the original hardware. All these sounds are yours, at your fingertips, and ready to use in your own productions and performances.
Playlist:
Modular Jam : Lords of the West : Rings, Elements, Clouds, Peaks
Modular Melody: Church of Meta Q - Tides (Parasite), Function, Clouds
Modular Jam: SynthTech E350/E355/E440, Mutable Instruments Elements/Clouds, Pittsburgh SV-1/KB-1
Modular Patch/Performance: Slow to Go
Modular Patch/Performance:- The Big Build
Modular Patch/Performance: Sargasso
Modular Patch/Performance: Fair Winds
Modular Patch/Performance - Over the Clouds
Modular Patch/Performance: March of the Shift Register
Modular Etude #1
[PHOTO: Caption: Actor Allison Goodman, shown here controlling Kyma with an Emotiv EPOC neural headset, is one of the performers scheduled to appear at KISS2013 in Brussels September 12-15 2013]
"KISS2013: INTER faces" will also feature technical sessions on topics ranging from signal processing to interfaces, an 'Open lab' where Kyma experts will be available to answer questions, hands-on demos and workshops focusing on innovative user interfaces and controllers, and evenings filled with live musical performances showcasing some of the best work created in Kyma this year, including music controlled by brain interfaces, game controllers, iPads, Continuum fingerboards and drawing tablets; audio signals used as controllers; Foley artists as live performers; live cinema; motion-tracked dancers, and more!
Kyma developers Carla Scaletti and Kurt J. Hebel will be joined by over 30 audio and music professionals from ten countries in presenting the seminars, music, and hands-on demonstrations.
The following is an interview with Peter Grenader of Electro-Acoustic Research (formally Plan b). The focus of the interview is mainly on his involvement with The ZZYZX Society, however you will find plenty of insight into gear, including some of what Peter is working on next. I want to give Peter a huge thanks for taking the time out for this.
1. To start, what is the ZZYZX Society?
"The zZyzx Society is a group of like-minded half-crazy avant-garde musicians/composers who at one time or another fell down the same sonic rabbit hole.
Discussions about this began in 2011. Jill Fraser and I tried to get something together, and the circle of people then included Richard Lainhart. Unfortunately, he passed away when we were right in the middle of talking about possibilities. This is actually when I sketched out one of my two pieces that we are currently performing: Organasm. It settled down until Jill and I ran into one another at Mort Subotnick's live performance at Redcat a couple of years ago. We saw a fire in each other's eyes - a need to return to something that we had both evolved from.
Jill and I are ancient friends. We met at CalArts in - God.... 1977. We actually performed together once with composer Gordon Mumma at CalArts and worked extensively together on Mort Subotnick's NEA project, The Game Room, in 1978. Matter of fact, the photo Mort used for the Electronic Works Vol. 1 was taken when we were doing The Game Room - Jill is the blonde and I'm the guy holding the patchord in the foreground.
What really set the wheels in motion though was a recent dinner we had for Thighpaulsandra when he visited Los Angeles a few months ago. Thigh had been speaking about wanting to do another series of performances together since we both did the AnalogLive gig at Redcat in 2007. Jill was already well into the planning stages, although it wasn't clear who would be involved at that time though oddly enough - everyone who will be was there - Jill, Chas Smith, Thighpaulsandra and myself. When Thigh left for his return trip home - the last thing he said to me was a suggestion to get some gigs going - that it will never start unless there's a date, and when you guys get a set under your belt and are comfortable with what it evolves into, that he would come out and gig with us - and that's exactly what we are doing. Well, we'e actually focusing on tracking a CD, but I'll get into that more in a bit."
2. Can you give us a little background on each member? When the world of electronic music started for each and what they've done over the years?
That's where humility sets in - with the notion that musicians of this caliber would consider me a contributor. Why? Let's start with Jill: after earning her masters in composition at CalArts studying with Mort Subotnick and Mel Powell - her first stop was where I landed: Serge's infamous Hollywood synth production facility on Western Ave. She didn't stay there long, however, because she was hired to compose electronic music by Jack Nitzsche for Paul Schrader's film, Hardcore. This began a 25 year career composing both electronic and acoustic scores for hundreds of TV commercials for huge national campaigns: BMW, Honda, Porsche, Nissan, Mitsubishi, HP, NBC, KFC, Carl's Jr., and Apple among others, and in the process won 3 Clios. She also toured with Buffy St. Marie and auditioned for The Sex Pistols - no joke.
Chas will be the only one among us who people will be speaking about in 100 years. He's also from the CalArts electronic music composition master's program and spent his early days with modulars. Until recently he owned a 12 panel serge system he had had for 30+. His legacy will be the remarkable Harry Partch-esque tuned percussion instruments he crafts. He's shifted to metals exclusively which forge these amazing soundscapes, which would take immense work to generate electronically, yet just pour out of these sculptures. Along with collaborations with Harold Budd he's been released many times as a solo artist on Cold Blue Records, MCA, and others, music for Zimmer's Man of Steal score (they actually did a special feature on Chas for that film), as well as the first two Saw films with Charlie Clouser, for Shawshank Redemption, The Horse Whispser... the list goes on.
Man Of Steel Soundtrack - Sculptural Percussion - Hans Zimmer Published on Aug 27, 2013 WaterTower Music
Not sure what planet you'd need to be on not to know where Thighaulsandra's been. Like the rest of us here, his interest in electronic music is lifelong. Stockhausen and Cage were early influences and while you clearly realize his worth in the rock idiom, his experimental roots are unavoidable. Golden Communion - which has garnered stunning reviews in Europe - gives both Gabriel and NIN a run for their money, but you also hear Stockhausen in there and in the string introduction to the title track - Elliot Carter. He began his music career on the other side of the board - as a studio engineer, and this is where he met Julian Cope, who in time introduced him to John Balance - which led to 10 very productive years as a member of Coil - during which TPS began releasing his own solo work. He is a conservatory trained pianist blessed with the birth defect of incredible ability. After Coil he was off to Spritualized for I think three years?
As for me, I am the underachiever. After CalArts and a few small film scores, and a oddly enough a planetarium show for the Griffith Observatory, I put everything down for 25 years. In the early 2000's I found music again and had really good success in the academic electronic music festival circuit. I won the Periodic Festival in Barcelona and was selected for one of the evening performances at the SEAMUS National Conference, which doesn't sound like much, but I was probably the single first-time applicant to land that right. There were 30 or so festivals in the US after that over the next two years including the AnalogLive emsemble performance at Redcat at the Disney Hall in LA with Thighpaulsandra, Chas, Gary Chang, Richard Devine and Alessandro Cortini. The start of Plan B shifted my center to manufacturing, although I was signed, and did a CD for Coda Recordings in 2013 entitled Secret Life.
What I appreciate, especially working with Jill, but it's true of all these guys... our combined experience is such that we finish each other's musical sentences. It's astonishing. Three guys in a garage band and you expect them to vamp off their combined rock tradition, right? But electronic music, are you kidding me? Jill and I started rehearsing with a piece of mine called Benghazi, which is based entirely on a single diatribe of Glenn Beck whining about the attack in Libya. The first day we did what I would call informed noodling. When we started the second day she said she had worked out some other processed bits, and they were phenomenal. It brought the concept into much higher space and with no direct guidance outside of asking for other samples from the source file so not to loose Beck's context narrative. She just got it, completely.
zZyzx Society live in Joshua Tree: BENGHAZI
3. What sort of gear will each member bring to the project? Is there a preference for any?
I can't say for Thigh, dunno yet but he's got an arsenal at his studio in Wales. Jill is primarily using a Push via Ableton and a single Serge panel designed specifically for live performance made for her by Dmitri Sfc. I can name what Chas uses, but it won't mean much as outside of a rack of loopers everything he plays he's made. So for the record it's the Rite, the Replicant and his incredible steel guitar Guitarzilla. I am primarily using my modular - eight rows of it I crammed into two road cases, and then a Roli keyboard using Equator for now, and plans for a proper sampler as the ROli software wreaks Kickstarter deadline. It's fine as a closed synth, but while they say you can import your own samples - you really can't. I had to contact them, and they wrote the code so I could add one specific sample, but are not wiling to help me do more. The keyboard itself however is incredible.
4. What is the collaboration and recording process like? Do you record together or do you pass compositions back and forth for each person to work with separately?
Recording wasn't in the original plan, but that's changed and with Chas moving to Grass Valley - and Thighpaulsandra in Wales it's just like my FB relationship status: complicated. Jill and I are going to lay basic tracks starting in two weeks. So we'll be sending multitrack to both Chas and Thigh, who will be adding to them, then returning the new stack to whomever wrote the piece to do the final mix. The process is identical for Chas and Thighpaulsandra with their works There is talk of a release deal. So... with only one gig under our belts at FUTUREWURLD in Joshua Tree, which was really well received , but still...now we're shifting to recording the four pieces we performed with small gigs during that process, although, all in much more detail than we could manifest live with our hand count. Jill's got one which is actually four individual pieces, I've got Benghazi and Organasm and Chas has Perimeter. Thighpaulsandra is in the middle of one for us now and we're discussing the possibility of rendering Subotnick's Sidewinder.
5. What do you have in your modular system when playing with ZZYZX Society?
At first I brought almost everything. I could basically empty my main cabinet into the two road cases and on top of that I brought the two side cases, but I knew this wouldn't last. After a couple of days of rehearsal when we worked on the two pieces that were modular extensive I identified what was overkill and I limited my modular system to the two road cases (see image). It's eight rows of 88hp.
In the empty space I've now installed an Animodule Midi Gate, which is a brilliant idea and one I was planning on for EAR - but the best man won on that, more power to them for that. With it in that space will be two custom modules consisting of two Sparkfun Wave Trigger boards and a little unity gain mixer. Each of the Wave Triggers will be driven by the Midi Gate. I can use individual keys on my Roli to fire of independent events. Each of these WAVE modules allow for eight polyphonic samples to be played by either the depression of a momentary switch or a gate signal with each group of eight stored on a microSD card which can be loaded on the fly. I see this as an intelligent way of performing with a modular in a live scenario. It's basically what Mort is doing now - assembling the overall sonic contour by playing prerecorded samples as required with a couple of live voices over everything. Very effective and something Mort has been talking since the days I was working with him. It took 30 years for technology to catch up with him. In my instance, I will be playing events I prerecorded on the modular.
6. Does working on music like the ZZYZX Society influence your designs, or do you keep the two worlds separate?
It's had a huge impact on this. Immediately I started thinking about a group of modules called "the live set" which would be a series of devices which would make live performance easier for a modular artist. I don't want to give anything away outside of saying the guy that developed the Wave Trigger for Sparkfun lives a few blocks from me (wink). I've also had a couple of meetings with Vince De Franco, who produces the Mandela Electric Drums whom I met through Danny Carey. If what we're discussing becomes a finished product, it will be a paradigm shift for realization of live electronic music.
7. What's next for you? You were the man behind Plan B, your designs were featured in Subconscious Communications' modules, and you are back with Electro-Acoustic Research. You recently announced the Model 41 Steiner 4P filter. Do you plan to bring back any older designs like the Milton or will you be focusing on new designs only?
The EAR modules will be a combination of new things and legacy re-releases, but none of the old ones will be brought to market now without significant improvements. Not because they were broken before, but because I see no reason to revisit something without making changes. If you go to ear-synth.com the next product up is the Model 12 Mark II. It's two M12's in one package, both fitted with the IFM Sync function found on the M41. There are all manners of interconnection possibilities as well, so that two two can be used independently, or in either serial or parallel operation off all output taps of a single signal. If you sweep to the 'Future' page there's also the Model 24 Heisenberg Mark II, which adds a new quantized output to the stepped random and three new inter-modulation/triggering options. The Model 10 Mark II could not be more different than the original. Now two voltage controllable DASR envelope generators (Delay, Attack, Sustain TIME and Release). I have also mapped out a concept for an upgraded Model 15 Complex VCO which will make it the VERY Complex VCO lol. There are as well three new modules all ready to go.
I have been working on the relaunch for four years - since cEvin and I did the Subcon license on the 15 and 37. I've been working towards it continually. The first three products are completely done with a couple of revisions of hand built SMT prototypes behind them - ready to go - I just need to email the data off to Darkplace when it's time and product will appear a couple of months after that. If you watch Thighpaulsandra's excellent Model 41 demo video - next to the M41 you will see the Model 12 Mark II mounted in his system and that's one thing I did differently this time - I skipped the breadboard stage. I now go directly to SMT PCBs with Metalphoto faceplates. This addresses all sorts of potential calamities. It forces me to concentrate on the design stage and weeds out all manufacturing hiccups before they hit the Darkplace assembly line because if there are problems there - they aren't going to pay for that - I am. As my dad used to say when he was quoting new jobs.... "I don't do this for practice".
This brings me to something I want to close on. My father went through the Plan B collapse with me. He knew how hard I had worked to get where I did and he knew all too well what I forfeited. He was a tough love guy and at times unnecessarily hard on me about it. But in the end, I did it and he knew before he passed away. I was ready for the Model 41 a year and a half ago. Darkplace had already quoted it. It could have launched then and would have had he not died. There were delays from his death that the family needed to settle. But as far dad... I built most of the prototypes on his kitchen table because the light was so much better there than on my bench at home. He saw me working on them. He saw the Darkplace quotes. The last thing he said to me was 'I love you'. Right before that - he congratulated me on getting the company back on it's feet and that I found a way to do it all on my own, and he told me how proud he was of me. After he said this, I left the hospital for the day and he died that evening at 3 in the morning. Nothing was worth the six years I went through and the problems I caused people, nothing makes my father's death bearable - but that moment came real. real close.
Update: two new user videos by Honeysmack and Marcus Schmahl added below.
"Combining the rich power of analog with the flexibility of digital, drumlogue provides the ultimate analog sound for your beats.
Featuring newly developed analog circuitry, drumlogue builds a solid foundation for your track; it also helps you stand out with an elevated harmonic richness and thick low end.
Important parameters for each part have dedicated controls on the front panel for quick and intuitive changes – without diving into menus. For even more creative potential, each part has a wealth of further parameters accessible through a powerful onboard editing suite. Even mixing is simple, with dedicated volume controls for the analogue and digital parts.
The track you hear in this video is by Dean Forrest"
Korg Drumlogue: New Hybrid Drum Machine - First Look- Just Sounds video upload by Korg Australia
New Korg Hybrid Drum Machine Drumlogue - Honeysmack's first encounter video upload by Honeysmack
"Get ready for a super nerd session, no talking just me tinkering with the Korg drumlogue for the very first time. Korg Australia were kind enough to give me a play with a sneak preview pre-production model of the drumlogue. Unfortunately I had no manual at the time, so please excuse me in advance. Hopefully this video provides some context to its sound. I feel this will be a winner for Korg, well done! Great sound, neat size, this could be a monster of a machine.
All the sounds and effects in this video are from the drumlogue, there are no external sounds or effects. Simple stereo output from the drum machine. No other drum machines were hurt in the making of this video.
0:00 Does this suit me? Oh what does this do?
2:23 Omph omph omph, ah I see, me likey the kick drum
5:59 Electro ratchets - why not take your time and build a track
9:30 Start with speed carnivale - exploring more latin percussion then I try to break the machine!"
Korg drumlogue drum machine & synthesizer demo - no talking - video upload by Marcus Schmahl
00:00 building drum sounds & a pattern
06:13 switching through preset patterns & sounds
Korg Drumlogue Sound Demo No Talking - no external effects or processing video upload by Limbic Bits
Korg DRUMLOGUE Review // Top Pros & Cons and All 64 Factory Patterns // Full Tutorial video upload by loopop
TIMELINE: 0:00 Intro 1:20 Overview 6:15 Connectivity 7:15 Sample parts 11:40 Analog parts 14:25 Multi engine 15:05 VPM 17:15 Noise 17:55 Nano 21:30 Sequencing 22:10 Live rec 22:50 Motion rec 24:45 Step seq 25:10 Groove 26:10 Probability 27:10 Ratchets 28:00 Ties 28:30 Motion seq 30:20 Shift buttons 31:00 Polymeters 31:35 Send FX 33:35 Master FX 34:45 Sidechain 36:25 Loop 37:10 Select 38:25 Randomize 39:00 Chains 39:35 Audio in and out 41:50 Misc settings 43:45 Pros & cons 49:10 All 64 patterns
Details and pics:
A paradigm shift in drum machines.
drumlogue marks a paradigm shift in drum machines. It offers the raw power and rich sounds of Analog, the flexibility of Digital voices, and drumlogue’s SDK for fully customizable User Custom Synthesizers.
On top of that, its heavy-duty, dynamic sequencer, customizable effects, and intuitive controls will make drumlogue a must-have in your studio to create music for any genre or style.
It’s time to take your beats and entire musical process to a whole new creative level with incredible sounds, effects, customization, and sequencing. Let drumlogue support your craft on your musical journey!
Raw Analog Power
drumlogue was conceived to provide the ultimate analog sound for your beats, and delivers fantastically; featuring completely newly developed analog circuits by legendary Korg analog synth team engineer Junichi Ikeuchi (ARP 2600 M, MS-20 mini, ARP Odyssey…) , the depth and richness of its sound is on a whole new level.
These new analog circuits - (Bass Drum, Snare Drum, Low Tom and High Tom) - will not just provide a solid foundation for your track, but make it stand out with an elevated harmonic richness and a thick low end.
Blending simplicity and ease of use, the most important controls for each of these parts have dedicated knobs on the front panel that can be tweaked at any time without any menu diving necessary, so you can quickly and intuitively fine tune your sound on the fly. For further sound exploration, each part provides many more parameters accessible through the powerful onboard sound editing system.
Last but not least, each part on drumlogue - analog or digital - has a dedicated volume knob that will make your mixing process incredibly smooth and easy.
Digital Flexibility
As the perfect partner for its analog section, drumlogue provides 7 digital parts; 6 sample based and 1 synthesis based (Multi-Engine). The sample based parts can play any of the preloaded PCM banks on drumlogue. You can also import your own User Samples to its memory, making drumlogue an extremely versatile machine with virtually limitless sonic possibilities.
To start with, the 64 preloaded drum kits of drumlogue will provide you with a wide variety of sounds spanning several genres so you can easily kick-start your tracks.
For additional sounds, samples can easily be easily loaded into the drumlogue just by connecting your drumlogue to your computer via USB and simply drag-dropping your samples onto the main memory.
Multi-Engine and logue SDK
The popular Multi Engine from prologue and minilogue xd is now more powerful than ever. In addition to the Variable Phase Modulation (VPM) and Noise generator engines, the Multi Engine features a new User Custom slot that can play full-fledged synth voices that provide vast sonic possibilities, never before heard on a drum machine.
Custom Synths
drumlogue’s synth voices are not simply static waveforms. Custom synths can be built to not only generate sound, even implementing built in filters, LFOs, MIDI controlled polyphony or other parameters is now possible The only restriction for third party developers is their creativity (and CPU usage!), giving you unbound sound exploration.
Exclusive Sinevibes Synth Plugin “Nano”
Korg has collaborated with popular logueSDK plugin developer “Sinevibes” to include a brand new synth plugin “Nano” as a factory preset on drumlogue. This exclusive plugin explores the power behind the expanded Multi Engine and will give all drumlogue users a taste of this new platform.
“Nano” is a full-fledged virtual analog synth with a wide array of features and plenty of customizable parameters. The synth engine has dual oscillators with optional ring modulation, a 4-pole state-variable filter with soft clipping distortion, built-in EG and built-in multi-waveform LFO.
Leads, basses, percussive sounds or cinematic effects, you decide how to use this incredible sonic potential!
A True Sequencing Powerhouse
drumlogue harnesses all of its sonic power to an extremely powerful internal sequencer that is flexible and easy to use.
Tired of the same old beats? drumlogue's heavy duty 64 step sequencer makes it easy and intuitive to create complex rhythm patterns and polyrhythms that elevate your music creation process with innovative features such as per-step probability, per-step alternate trigger patterns, per-step micro offsets, per-track groove patterns and much more.
Thanks to its clear OLED display, it is also very easy to visually follow and edit your sequences.
drumlogue is both great in the studio and playing live. With its Chain mode, creating long and interesting patterns is straightforward and clearly displayed. In Loop mode you can switch between several variations to play your sequence in new and interesting ways. The Motion and Accent recording functions are intuitive and fast and if you want to try new things on your track, the Randomization function is there to help you. These functions and many more on the drumlogue will support and spice up your live performances!
Effects and customization
drumlogue includes several high-quality effects across three categories that can be used simultaneously: Delay, Reverb and Master effects.
The send amounts for delay and reverb effects can be set independently for each part, and multiple return points are available. The master effects allow you to add that final polish to your sound and bring it all together. Master effects can be bypassed on a per-part basis, making it possible to send the effect to specific audio parts. A sidechain bus is also available to master effects which can make use of it.
Generate sequences based on the patterns discovered in your MIDI files
CHAMPAIGN — June 12, 2019 — Symbolic Sound today released a new module that generates endlessly evolving sequences based on the patterns it discovers in a MIDI file. HMMPatternGenerator, the latest addition to the library of the world's most advanced sound design environment, is now available to sound designers, musicians, and researchers as part of a free software update: Kyma 7.25.
Composers and sound designers are masters of pattern generation — skilled at inventing, discovering, modifying, and combining patterns with just the right mix of repetition and variation to excite and engage the attention of a listener. HMMPatternGenerator is a tool to help you discover the previously unexplored patterns hidden within your own library of MIDI files and to generate endlessly varying event sequences, continuous controllers, and new combinations based on those patterns.
"The Revolution is a concept synthesizer with an intuitive interface that we feel most accurately represents the principles of time and music. From ancient sundials to modern day analog clocks, time has been represented as the circle, a cycle which never ends. Time itself is nothing more than our perception of the revolution of planets as they journey through their celestial orbit. It is this motion that we call time that can be measured, divided, and arranged to provide the foundation of music. This circular cyclic theme can furthermore be found throughout music in everything from song structure and repeating rhythms to the fundamentals of sound itself, being the sine wave. With this understanding we must conclude that music is cyclic and should so be represented in its natural form.
And so it is...the Revolution, a true analog monophonic synthesizer with an easy to use step-based digital sequencer, analog and DSP effects processing, and various interfacing for controlling MIDI, CV/Gate, and Din Sync devices.
Continuing in the tradition of building quality products, this unit is housed in a rugged aluminum chassis with aluminum side panels, a high contrast white on gun metal grey finish for superior viewing of controls in dark environments, and bright blue LEDs all around.
Update: Kraft Musik video added to the playlist below.
The KORG opsix is here. It appears KORG went with the smaller Wavestate-like body. You might remember the full size keyboard teasers from previous posts. That said, details:
"The legendary sound of FM synthesis had graced hundreds of albums, from its
introduction in the 80’s to today. Korg’s opsix puts the power of expanded
six-operator FM synthesis in your hands, with instant on-panel controls that
help you create custom FM sounds with unparalleled ease.
'Altered FM' takes you light years beyond classic FM with 32 voices of
polyphony, five modulation types, a user algorithm mode, multiple filter models
1 “logue”-style 16-step note and motion sequencing, effects for days, a 12-point
modulation matrix, and much more."
User videos:
Use the player controls at the bottom left of the player once started to skip around. Some
are long.
See the dealer links in the playlist below and the banners on the right for availability.
Playlist:
1. KORG opsix Altered FM Synthesizer - First Look! with Tom Butcher of
Patchwerks Seattle - video by
Matthew Piecora (aka EZBOT)
2. KORG OPSIX - All Playing, No Talking - Kraft Music
3. Korg opsix Sound Demo (no talking) - Bonedo Synthesizers
4. Korg OPSIX Review, tutorial and 10 patch tips // All 250 Presets played -
loopop
5. Korg OPsix FM synthesizer // Hands-on Easy to Use FM Synth! - BoBeats
6. Korg Opsix Sound Design - Kinda Tutorial - True Cuckoo
"Rethink everything you know about FM synthesis.
The opsix represents a new and expansive reimagination of classic digital synthesis. Much like Korg did when bringing wave sequencing back in a more powerful, more musical, and more immediately accessible way with wavestate, so was the approach to FM sound generation of the opsix, resulting in another incredibly flexible and unique synth.
"VCM ++ Volume 2 is here! This sound set takes advantage of the latest O.S. update for Prophet Rev2, with tons of new Vintage Voice Modeling Sounds, Binaural Stereo Stacks and Advanced Motion Patches. Available on Sellfy here:
VINTAGE VOICE COMPONENT MODELING (VCM)
A few years back I did a bunch of research and analysis on vintage synths from the 1970s through 2000s, to understand what gives classic/vintage synths their lush character and organic warmth. I published info on my findings at http://www.VoiceComponentModeling.com, and released a patch bank for the Prophet Rev 2 (as well as other soundsets for other synths in the past few years). This new soundset (VCM ++ Volume 2) is the latest release, harnessing the techniques I've been working on the past few years.
LATEST O.S. for PROPHET REV2
This sound set takes advantage of the latest Prophet Rev2 firmware released a few months ago, which fixed some issues with the Gated Sequencer Key Stepping, along with several other minor bugs. This O.S. (1.1.5.9.9) is the latest stable release, and highly recommended for usage with these patches. They would technically work with previous O.S. versions, but not sound as good. Go get the latest O.S. for free on the official Sequential Rev2 forum. Note: It's technically a beta, but with Seq, their Betas are the same as release versions after they've been out a few months. They are the most stable, bug free versions.
NEW CAPABILITIES WITH UPDATED O.S.
Now that the Key Stepping of the Gated Sequencer works fully on stacked patches, there are some new capabilities that the Prophet Rev2 has.
Firstly, it can now pull off stacked/layered patches with Vintage Voice Modeling on both layers, with correct voice stepping. This allows for huge sounding vintage stacks, emulating double tracked or binaural stereo sounds, with tons of organic, vintage character through per voice modeling (VCM).
Second, the excellent gated sequencer / modulation sequencer can now be used in key stepping mode for stacked/layered patches. This provides the Rev2 with incredible syncopated motion capabilities, unmatched by virtually any other synth on the market. By combining two layers of Arpeggio motion, with strategically planned Osc Frequency Modulations, Cutoff jumps and other modulations, you can create incredibly rich animated motion that can be played up and down the keybed in any key. The resulting patterns that are created are extremely unique, and by targeting octaves, perfect fifths, and perfect fourths, along with staggered timing/reset points, you can create semi-procedural, intelligent melodies and multi osc harmonies that respond to your playing.
Third, the above two capabilities unlocked with the latest O.S. can be mixed/matched. For example, there are many patches in the soundset and demo, which have a pad, brass or string sound with vintage voice modeling on one layer, combined with an advanced motion arp on the second layer, for rich motion patches, with a fundamental organic, vintage style based underneath.
0:00 PAD-S Pulsimatic VCM 1:11 SPL ZepInTheLight VCM * Led Zeppelin 2:25 PAD Cars Drive VCM * The Cars 2:35 KEY Cars Drive Pluck VCM * The Cars 3:12 ARP PAD HorizonGlow VCM 4:22 KEY EP Everything3 VCM * Radiohead
"After a year of development, testing and prototyping, KOMA Elektronik is proud to present the latest addition to the KOMA family: the KOMA Elektronik Field Kit! On Kickstarter now! The new KOMA Elektronik Field Kit is the perfect tool for everyone who would like to experiment with electroacoustic sound. Use everyday objects, amplify them and use them to make sound, like our heroes John Cage and David Tudor used to do!
The Field Kit is optimized to process signals from microphones, contact microphones, electromagnetic pickups and able to run DC motors and solenoids. On top of that it can receive radio signals and convert signals from switches and sensors into control voltage. The Field Kit boasts 7 separate functional blocks all focussed on receiving or generating all types of signals. They are designed to operate together as a coherent electroacoustic workstation or alternatively together with other pieces of music electronics with the ability to use control voltage signals:
Four Channel Mixer
Envelope Follower
DC Interface
Analog Switch Interface
Analog Sensor Interface
AM/FM/SW Radio
Low Frequency Oscillator
You can easily interface the Field Kit with a Eurorack modular system. At the backside of the PCB you will find a power connector you can use to power the unit from your system. The total panel width is 36HP. You can buy the Field Kit as a finished unit or build one yourself with the DIY Version."
"All audio has been recorded straight from the Field Kit, using a DC Motor, Solenoid Motor, a DC powered fan, Roland TR-8 and Berlin's local radio station Antenne Brandenburg as audio sources."
The new KOMA Elektronik Field Kit is the perfect tool for everyone who would like to experiment with electroacoustic sound. Use everyday objects, amplify them and use them to make sound, like our heroes John Cage and David Tudor used to do!
The Field Kit is optimized to process signals from microphones, contact microphones, electromagnetic pickups and able to run DC motors and solenoids. On top of that it can receive radio signals and convert signals from switches and sensors into control voltage!
We have finished development of the Field Kit, are ready for production and we need your support to make it happen!
[Pictured:] The final Field Kit prototype, ready for production!
It's all about the things you connect to the The Field Kit! To get you started we decided to offer an Expansion Pack with a bunch of different sources that you can use and connect to create your own signature sounds.
Update: Street price appears to be $169.99. See the dealers on the right for availability.
"The new volca fm is poised to bring unprecedented possibilities to your setup, studio, or anywhere you choose to make music, with double the voices of its predecessor, additional effects, expanded MIDI connectivity, and an intuitive interface. This next generation volca fm features a powerful 6-voice, 6-operator FM synthesizer with all 32 classic algorithms, a 16-step loop sequencer, effects, and a powerful arpeggiator all in the portable, unbeatable form factor of the volca!"
New Korg Volca FM 2: Next Generation FM Synthesizer - Sound Demo
video upload by Korg Australia
"The next-gen volca fm is a powerful 6-voice, 6-Operator FM synthesizer with all 32 classic algorithms, a 16-step loop sequencer, effects and a powerful arpeggiator that perfectly reproduces the sound of the classic Yamaha DX7 and is completely compatible with SYS-EX patches for the DX7 as well.
With 6 voices (instead of the 3 of its predecessor) the new volca fm brings a new world of harmonic possibilities to your production. It is possible to play, sequence or arpeggiate complex chords with up to 6 voices in order to bring a unique flavor to your music production. No more running out of voices when sequencing melody, harmony and bass all in one device! Moreover, the new volca fm is now velocity sensitive via MIDI, when coupled with its 6-voice polyphony, provides a much more expressive and nuanced playing experience than ever before.
By popular request, volca fm includes a lush Reverb effect in addition to the Chorus effect. Each of these two effects can be used and adjusted individually to add the finishing touch to any FM sound you are going for.
In addition to MIDI IN the new volca fm also includes a MIDI OUT (IN/OUT 3.5 mm TRS), making it possible to use the intuitive volca internal sequencer to control other devices through MIDI, making it the perfect addition to your standalone setup. Of course, it also works well with your DAW of choice thanks to note, control, and clock receipt via the MIDI IN.
volca fm also incorporates a motion sequence function to record in real time all the subtle nuances of your playing and knob movements, letting you add time-varying change to the sound. This is a great way to polish your loops, and also lets you generate highly original live performances."
"In collaboration with Oscillator Sink, old and new volca fm users can use the completely free online editor to easily modify their patches; no installation required.
Synthmata includes an 'intelligent randomizer' which allows you to describe the type of sound you want using 11 sound-quality sliders, Synthmata can then generate infinite patches to help spark your creativity."
And a few user videos:
Review: Korg Volca FM2 vs OG // DX-7 based synth gets better // Full FM 2 synthesis tutorial
Korg Volca FM2: A Tiny, Powerful Existential Crisis
video upload by Red Means Recording
"Korg has released an update to the Volca FM, this time with more polyphony, a reverb, and other quality of life enhancements. It still made me feel weird. This video explains why. To be fair: I think this is a really cool synth. FM is a great and expressive synthesis method, and 6-OP FM is really capable. I just wish some things had been done differently."
"10 minutes of retro boom-bap downtempo made with the Korg Volca FM2. All sounds (but drums) from the Volca FM2. Some additional reverb and processing have been applied."
