Korg Monologue, MicroFreak, Novation Circuit, Volca FM, NTS-1, Lone Rider part 3

Waveformer

All parts here.

"Third and final part of a three-part jam, featuring the Korg Monologue, Arturia MicroFreak, Novation Circuit, Volca FM, and with Zoom MS-70CDR and Korg NTS-1 on effects.

My music on Bandcamp: http://waveformer42.bandcamp.com/

See the two previous videos for part 1 and 2. The tree jams use the same instruments and effects, but with different themes.

The Monologue is used for 3 solo parts - one bright synth-y lead in the beginning, one grumpy distorted lead sound in the middle, and one theremin-like sound at the end. All based on the same custom patch, but with modified envelope, oscillator mix and filter to give each solo a unique character.

The MicroFreak is doing chords with a simple super saw patch and lots of chorus, delays and reverb from the MS70. In the section from 7:30 to 9:30, I'm using a nice "trick" to get from a C minor to a Eb minor in a smooth way. I go from Eb to G7, and then to B diminished 7 (just move the low G note a half step up to a G sharp), and then on to Bb7 (move the B one half step down to a Bb). The Bb7 is the dominant chord for an Eb minor, so the transition to Eb minor feels very natural. To my ear, all these transitions feel very smooth, and still we end up on a Eb minor chord three half steps from the C minor root. And the G minor note in the Eb minor chord is definitely not in the C minor scale. It's even a tritone. The diminished 7th chord of a scale is a very nice gateway to other scales. If you're in C (major or minor) scale, you can use the B diminished chord to go to Eb, to Gb and to A - minor or major. All of these are just a half step up from a note in the diminished chord, so the tension in the diminished chord resolves nicely to any of these.

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Korg Monologue, MicroFreak, Novation Circuit, Volca FM, NTS-1, Lone Rider

Korg Monologue, MicroFreak, Novation Circuit, Volca FM, NTS-1, Lone Rider part 1

Waveformer

"First part of a three-part jam, featuring the Korg Monologue, Arturia MicroFreak, Novation Circuit, Volca FM, and with Zoom MS-70CDR and Korg NTS-1 on effects.

My music on Bandcamp: http://waveformer42.bandcamp.com/

This jam was originally planned to be around 45 minues, with lots of different parts, and lots of different solos played live on the Monologue. All planned out over 3 sheets of paper with plenty of notes scribbled all over. I did record a 45 minute take, but wasn't happy with the performance so I decided to scrap it. And ... playing the whole thing live was kind of daunting, so I chickened out and decided to make this a three part jam with a common soundset and some common themes.

This is the first of the three planned parts.

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Vintage Maas-Rowe G-123 Grand Symphonic Carillon Electronic Keyboard

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

via this auction

"This extremely rare Maas-Rowe Symphonic Carillon is in excellent functional (manual playing only) and cosmetic condition. This electromechanical rarity plays up to 123 chimes of four different kinds using a keyboard interface. It can either play Flemish Bells, Westminster Bells, or the Symphonic Carillon bells, the latter of which is comprised of both minor-third-tuned bells ("Minor Bells") or major-third-tuned bells ("Major Bells"). For the Symphonic Carillon bells, it uses relay that allows the player to choose the key in which he will be playing by pressing the corresponding button for that key, which in turn selects an appropriate set of minor-third-tuned bells and a set of major-third-tuned bells. Being able to select which bells are tuned minor or major allows for much greater melodic and harmonic possibilities.

This carillon was purchased from Otero Junior College, Colorado. This particular symphonic carillon cost the college $28,000 when it was installed new in the college by Maas-Rowe in the early 1960s, which equates to over $200,000 in today's dollars. Receipts and other documentation will be provided to the buyer.

An external speaker that can be used in conjunction with its current monitor speaker. If you plan to mount this in a church and amplifiy it through a bell tower, 4 large tower speakers/horns can be provided to a buyer at an additional cost of $250/each, plus shipping. This is a once-in-a-lifetime opportunity to own one of the most extensive (and expensive!!!) carillon systems that Maas-Rowe ever built.

Chime bell types include:
37 Major bells (which, when combined with minor bells, comprises the Symphonic Carillon)
49 Minor bells (which, when combined with major bells, comprises the Symphonic Carillon)
37 Flemish bells
11 Westminster chimes

One of the two large wood-paneled cabinets is the amplification section, which includes five power amplifiers. One of these power amplifiers is for powering a monitor speaker, and four of them are for powering tower speaker horns in a church belfry, facing in four separate directions. The Hammond speaker shown on the right is not original to this carillon. The other of the two large wood-paneled cabinets houses Maas-Rowe Chronobell system, which is the timing and roll-playing system. The Westminster chimes have their own cabinet. The Flemish chimes have their own cabinet as well. The minor bells and major bells are all housed in the carillon console itself.

If you want this instrument for recording studio use rather than for church use, the footprint of this instrument can be reduced by 75% for more compact use, so that it takes up only the same amount of space as a Hammond organ. If you put a preamplifier/amplifier at the bottom of the keyboard console, you wouldn't need the electronics in the two tall cabinets, and you wouldn't need the Westminster chimes, as they are controlled by the clock cabinet only. Also, if DI the instrument-level signal directly from the keyboard console's Symphonic Carillon bells and from the Flemish Bells cabinet to an external preamplifier, you wouldn't need the Hammond speaker. Then, if you stick the flemish cabinet behind the console, the amount of floor and wall space that this would take up would be the same as that of a Hammond C3 organ.

Also included are 15 mylar player rolls. Please note that we have bypassed it (it was working before we bypassed it) several years ago, so we do not guarantee the functionality of the automatic player system...only the manual-playing system is guaranteed to be fully functional. There are about 8-12 songs on each roll, thereby providing 120-180 songs total. This also comes with three copies of the on-off switch key for the carillon console, as well as four copies of the key needed to open and close the two cabinet doors.

Due to the size of this carillon, it will need to be shipped freight, for which the rate varies depending on the buyer's location. Please contact me get a specific shipping quote to your location. The $500 is just an estimate; the buyer will be responsible for the actual shipping cost."

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Chordboard STAC Music: Meso Kingmann © 2011

YouTube Uploaded by chordboard on Feb 23, 2011

"http://www.chordboard.com for details on Chordboard STAC
"I created this song on the Chordboard beginning by starting with a performance preset on the Yamaha Motif CX8 keyboard, just trying to get some ideas, and the tempo was 103 bpm. I went to the Chordboard STAC and tried the Key of C and started to play the minor chords on the right side of the STAC. I went back and forth between several chords but gravitated to the D minor and A minor chords because for some reason they just sounded like the mood I wanted to be in, and then also bridging with the E minor chord for even more tension. After a couple of rounds with those chords, it was time to resolve from the minors in this key, and so I branched over to the left side of the chordboard playing the major chords and experimenting with that, and settling on going from A minor to F major, introducing a positive feel to it, and down to the C major and up to the G major, and finally to a B diminished to return to the original minor chord progression of ii, vi, iii.
Near the end of the song I brought all track volumes down and emphasized a sound called ELFIN DREAMS on the Yamaha, and just loved the way it took the song into a new dimension. I played the same chord progressions on these new harmonies (and melodies) but played them in a more fanciful way playing single notes (as shown on the vid) and taking advantage of what the sound had to offer. Some sounds sound WAY better played through the Chordboard STAC than they do on the regular keyboard, they just do, and vice versa as well. Some sounds sound ineffective on the STAC because they were not designed to be played that way (ie arpeggiated sounds, since the STAC already does that).
Overall, this song production is about 18 tracks of music and percussion, with a few of these tracks played on a regular keyboard (the Yamaha) and the remainder played on the Chordboard STAC. It took about 2 hours of music time, and 6 hours of mixing and engineering time. The Chordboard STAC significantly shortened the time to come up with 18 tracks.
One of the reasons I use the piano keyboard for parts of the song is that the piano keyboard is a different musical instrument and you can get the different sounds (playing styles) from using it. I use both the piano and the Chordboard. Some sound timbres are similar to those used by Daft Punk in Tron, but that is a coincidence, as I just love those saw wave sounds in the first place :)"
Grant Johnson"

Artificial Noise Key Control Updated with New Scales

See this previous post for a video demo of Key Control.

via Artificial Noise:

"February 19, 2019

Key Control Updated with New Scales

Map your MIDI controller to a given Scale and Key

Keep your keys 'In Key!'

Artificial Noise is excited to announce a new update to the Key Control, a MIDI device that maps your keyboard controller or synthesizer to a chosen Key and Scale. New scales have been added including; Blues, both Major and Minor Pentatonic and Augmented!

The Key Control is a unique MIDI device that will transform your MIDI controller or synthesizer to output only notes and chords within a given Key and Scale. The white keys will play all the notes in the desired Key & Scale (removing all unused notes), while the black keys will play chords within the Key & Scale. Choose between 11 scales and all 12 keys.

Simply hook up the Key Control between your keyboard controller and your desired MIDI destination (computer, synthesizer, sequencer, etc) via standard 5-Pin MIDI DIN cables. Or put your synthesizer in "Local OFF" mode and send the MIDI out from your synth through the Key Control and back into the synth, to always play 'in key.'

With a fast and easy 2 knob interface, you can quickly dial in one of a possible 132 possible key and scale combinations and get down to making music fast and with no fuss.

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FARFISA SYNTORCHESTRA (Frequently misspelled Synthorchestra)

via this auction
"The Syntorchestra has four polyphonic (Poli) voices and nine monophonic (Mono) voices. The issues are as follows:
* Poli Piano voice: some notes don’t sound.
* Switches for three of the nine solo voices (Trumpet, Trombone and Tuba) don’t engage their respective voices.
* Poli Voice Cancel functions, but Mono Voice Cancel does not, though you can still cut the voice by lowering its volume control.
* Mono voice can be heard faintly even after keys are released.

In addition, the AC cable sheath is pulling back at the plug (covered for now with electrical tape).

If you’d like to learn more about the Syntorchestra and its functions, as well as better understand this particular example of the synth, read on.

Basic Layout
The Syntorchestra (hereafter the Synt) has a Poli (poly) section and a Mono section. Both can be played individually or simultaneously, and the sounds of each can be layered. The Synt’s back panel has an output jack for the Poli section and another jack that outputs the Poli and the Mono sections together. Other back-panel controls include a DIN jack for a foot pedal (obviously an old foot pedal), a high/low-output switch, a trim control for the Poli pitch and a track control for the Mono synth to adjust the intervals between notes over the range of the keyboard. (The tracking is fine but not great.)

Top Panel Controls
Most of the Synt’s controls are for the Mono synth. The control panel (to the left of the keyboard) has individual Volume and Brilliance controls for the Poli and Mono sections. Next to these is the Vibrato section, which consists of a rate slider and pushbuttons to engage the effect on the Poli and/or Mono voices, plus a Delay button to delay the effect by a preset amount of time. The Vibrato is subtle, not aggressive, which seems to work best considering that the effect’s depth is preset.

The next two sections are entirely for the Mono. The first section includes two Envelope controls – Soffiato (attack) and Decay. By design these cannot be used simultaneously; a switch to the far right on the panel below the keyboard lets you choose which of the two you want to use. It’s an odd thing, since most envelope controls let you use attack and decay together to shape the envelope. Farfisa decided otherwise.

To the right of the Envelope’s controls is the Pitch section, which consists of Portamento, Pitch and a nifty control that lets you set the Monosynth’s interval to the root, or minor 3rd, 5th or 6th. For example, if you’re playing a C on the Poli synth, you can make the Mono synth sound at either the root (C); one and a half steps lower, at A (minor 3rd); three and a half steps lower, at F (minor 5th); or four steps lower, at E (minor 6th). The Mono has high-note priority, so if you play, say, a C chord voiced C-E-G on the Poli, the Mono will sound a G when the Interval control is set at the root, an E with the interval set to the minor 3rd, and so on and so on.

All the control panel functions work. They are a little bit noisy when you move them, and just a little stiff, too, but not much -- certainly not like those you’ll find on old Moogs and Arps. The one thing that’s easy to forget is that the Soffiato and Decay controls are dependent on the front-panel selector switch. You may think one of them isn’t working until you remember to place the switch in the appropriate position.

Front Panel Controls (located below the keyboard)
This is where you choose sounds and engage a few other features.

First, the sounds. The Poli has four: Trombone, Trumpet, Piano and Viola. The Trombone, Trumpet and Viola voices work fine. As mentioned above, the Piano voice has several notes that don’t sound at all.

The Mono synth has nine sounds, a few of which don’t work. Functioning sounds: Violin, Piccolo, Flute, Bass Flute, Alto Sax and Baritone Sax. The three nonfunctioning sounds: Trumpet, Trombone and Tuba (all three are side by side, so the issue may have something to do with the wiring in this spot). In addition, the Mono section voice can be heard faintly in the background after the keys are released.

Functions on the front panel include two Portamento controls: one engages the effect, and the other is a spring-loaded flipper that lets you engage the effect at will and then springs back into the off position when you remove your finger. Both of these work. There are two controls that let you instantly cancel out the Poli or Mono section without having to pull down the volume control. The Poli cancel works; the Mono cancel does not, but as stated above, you can still cut the voice by lowering the Mono’s volume. Finally, to the far right are controls for Wha-Wha and the aforementioned Envelope function selector (Soffiato or Decay). Both controls work."

click this image to see the detailed overlay.

Analogue Systems - RS-130 Programmable Scale Generator

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

via NOISEBUG Reverb

"The Programmable Scale Generator exceeds the possibilities of an ordinary quantiser module.

While a quantiser usually is chromatic only and with a little luck it allows major and minor scales, a programmable scale generator like the RS-130 makes it possible to freely program scales beyond the customary semitone scale with all their derivates. Scales with quarter-note or eighth-note intervals are possbile which is important e.g. for indian or oriental music. Two modes determine when quantisation takes place: in "free run" it happens only when input voltage changes. In "gate" mode quantisation happens when the RS-130 receives a gate signal.

Six quantisation modes are available:

- Quantiser: Acts as a normal chromatic quantiser for semitones

- C major scale: when offset = 0 and no CV at the transpose input it creates only a C major scale (C, D, E, F, G, A, B)

- C minor scale: when offset = 0 and no CV is present at the transpose in, only a C minor is created (C, D, Eb, F, G, Ab, Bb)

- C major Arpeggio: when offset = 0 and no CV is present at the transpose in, only a C major arpeggio is created (C, E, G)

- C minor arpeggio: when offset = 0 and no CV is present at the transpose in, only a C minor apreggio is created (C, Eb, G)

- user memory mode: creates user programmed scales.

When setting a fixed voltage with the offset control (0-2V, ie. two octaves offset), you apply a fixed transposition to the scale. Any possible scale can be set when you use the transpose CV inputs in addition. At each quantisation process a trigger signal will fired at the trig out which you can use for clocking a sequencer or a launching envelopes.

Power consumption: 110mA

HP : 24"

Zvuk Machines Seeks Funding on Indiegogo for New Zvuk9 Expressive MIDI Controller

Published on Sep 25, 2017 Zvuk Machines

via Indiegogo

"As a creative individual, you know how important it is to try new approaches. We let our minds go and ended up creating a new concept, a new way to interact with sound generators. We invite you to check it out.

Zvuk9 Feature List
9 pressure and position sensitive pads
Velocity sensitive (3 levels of sensitivity and 3 velocity response curves)
X and Y MIDI assignable to CC. CCs can be the same for all pads or unique per pad
X or Y can be set to send pitch bend instead of CC
Aftertouch (channel or polyphonic)
15 programs for storing settings (scale, tonic, split status, X & Y controls, on/off status for notes, aftertouch, and X and Y)
7 predefined scales available: natural minor, harmonic minor, melodic minor, major, harmonic major, pentatonic minor, and pentatonic major
10 user scales available so you can set which pad will play which note or notes
Chords can be assigned through user scales, a maximum of 7 notes can be assigned to a pad
Tonic can be set with Notes buttons
Notes buttons are illuminated, showing which notes are currently available and which note is currently playing
By default, tonic goes on Pad1; by using Notes up/down function, all notes can be moved
Encoder controls for X & Y: CC, min, max, curve
Total of 13 response curves available for X and Y
4 on/off buttons: notes, X, Y, and aftertouch
In Split mode, all controls for X and Y, state of 4 on/off buttons, and MIDI channel are unique per pad
Transport controls: play, stop, and record can be set to MCC, CC, or MCC+CC
Note off type choice (off channel, on channel/0 velocity)
All settings saved during reboot
MIDI over USB and MIDI through 3.5mm mini jack out (cable mini jack to MIDI DIN included)"

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Free Korg NanoPAD presets

via Dan303
"In the .ZIP file you will find:
* C Major scale
* C Minor scale
* C Pentatonic Minor scale
* C Pentatonic Major scale
* C Pentatonic Blues scale
* Major Triad chords
* Minor Triad chords
* Major 7th chords
* Minor 7th chords "

harmonic minor Odyssey

Published on Jul 18, 2015 Ebotronix

Flame Arpeggiator 2013 OS V 1.08.8 (harmonic minor chords)
Arp Odyssey 2821
4ms Peg, QCD² /Expander²,RCD², VCA Matrix
Analogue Systems RS 100², RS110²², RS 360², RS500e²
Bananalogue Serge VCS

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PYXIS MINOR // iPHONE MUSIC // 1st Session

Published on Jan 21, 2017 LESINDES

"For teh fiest time this is avideo about software. That's why I did not buy an Android phone is just that there are almost no app featruing something else than playlists and streaming music from the internet. But no productive tools. PYXIS MINOR is for FREE. And it is not perfect but it is great tool to get new musical ideas -- thank you, Timothy!"

iTunes: pyxis minor - Timothy Barraclough

"pyxis minor is a novel instrument / sequencer / synthesizer.

Users play and record sequences in real time and are able to play with various synthesis parameters to create a tailored musical experience. Bright colour, sleek aesthetic and intuitive user interfacing allows users of any age and prior musical experience / training to have a truly unique creative, musical experience.

Connect up to two devices together to play music with your friends."

iPad pics.

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divider'

Published on Mar 24, 2017 Ebotronix

4ms Peg, QCD/Expander², QPLFO, RCD², VCA Matrix
Analogue Systems RS 100², RS 110²², RS 360²
Cyndustries Zeroscillator
Doepfer R2 m² , A101-2², A114, A131², A133², A134²²,

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Music in my Soul © 2011 Grant Johnson composed on Chordboard STAC

YouTube Uploaded by chordboard on Mar 8, 2011

"see http://www.chordboard.com for more info on the Chordboard STAC
Last week I was in the studio playing sounds on the STAC and found a real interesting chord progression. In key of F I started on the iii chord, the awesome and very cool A minor chord and played an arpeggio on that, then alternated with the A# major chord on the root mixed with the equally awesome D minor chord on the top of the chord mix, arpeggiating notes... creating this bed of harmonic conflict that begs to be resolved, and teasing more by going to the V chord, the C major, and then back to the first A minor progression... and finally breaking away into a chord progression on the MAJORS side of the song starting with F major using the I, IV, V pattern. Branched over into the minors at G minor (ii chord)"

New Mattson Mini Modular / Division 6 Sequencer Videos by hewstigator

mattson mini modular / division 6 sequencer key-change (minor to major) demo

Published on Jan 24, 2013 hewstigator·24 videos

"a demo using the mattson mini modular / divison 6 sequencer's individual stage gate outputs to change particular notes of the sequence (here, the minor 3rds to major 3rds) on the fly...

in this case i took the gate pulse from each stage where i landed on a minor 3rd to tell the modular to transpose that minor 3rd to a major, with a switch to turn the transposing on and off as desired. the flinty-eyed observer will note that i am also taking a gate pulse from the stage AFTER each 3rd - this is to tell the modular to stop transposing (to leave the rest of the notes of the sequence in their normal places...

additional flinty-eyed observation will note that i am not using the sequencer's run/standby switch - instead, i leave it in the run position but have the clock generated by an external metronome"

using the mattson mini modular sq816 sequencer on part of "only the vulture knows" by the new lines

Published on Jan 24, 2013 hewstigator·24 videos

"having just delivered our masters to our mastering dude, mat @ mobtown studios, i thought i would send over, for posterity, a little snippet i captured of using an early mattson mini modular sequencer SQ816 prototype on one of the songs from our second LP, "fall in line" due out on moon glyph later this year...

i believe george mattson is currently just waiting for a lump of sequencer parts to arrive before production of these things begins in earnest... the sequencer is the top cabinet, and at the bottom with all of the glowing lights are my beloved division 6 jacklights (which plug into a 1/8" jack and light up to tell you what voltage they are seeing)... here they are glowing red with each clock pulse coming from my korg metronome which i had been using to make sure the sequencer stayed in time with the rest of the song on my computer. (this was before i realized i could just take an extra output from the computer to deliver clock pulses much more precisely)... dreck!"

Artificial Noise Key Control - Desktop MIDI Note Quantizer gets an OS Update & a New Lower Price

via Artificial Noise

"Artificial Noise is excited to announce a new lower price to the Key Control, now only $179 plus shipping! Along with the new lower price we now offer a more flexable Operating System, one that is geared more for MIDI quantizing duties.

The Key Control is a MIDI device that maps your keyboard controller, synthesizer or sequencer to a chosen Key and Scale. All MIDI note data will automatically be moved into the desired Key & Scale. Choose between 11 scales and all 12 keys.

NEW OS FOR THE KEY CONTROL!!

The original OS in the Key Control used the white keys on a keyboard for single notes in a key/scale, and the black keys to play chords. But after using the Key Control for a while I noticed that I wasn't using the chord function at all, since playing chords manually was easier (see our website on how easy it is to make chords). More than that, I ended up wishing that I could use the Key Control as a general MIDI quantizer, something that I could use with sequencers and arpeggiators.

The problem with the original OS was that if I was using a sequencer and I transposed it - some notes would be transposed up (natural notes), for others a chord would be sent out. As an example, if I had a C in my sequence and I transposed it up a semitone, the output note would not be C# but a chord!

So, I changed the OS for myself to only output note data and loved it! Now, instead of chords on the black keys (sharp/flat notes) it will output the notes nearest to the left. And now that I'm bringing the Key Control back into production, I've decided to make the new OS standard as it makes it much more useful in a MIDI environment.

The Key Control is easy to operate, simply hook up the Key Control between your keyboard controller (or other MIDI output equipped gear) and your desired MIDI destination ( ie. computer, synthesizer, sequencer, etc) via standard 5-Pin MIDI DIN cables. Or put your synthesizer in "Local OFF" mode and send the MIDI out from your synth through the Key Control and back into the synth, to always play 'in key.'

With a fast and easy 2 knob interface, you can quickly dial in one of a possible 132 possible key and scale combinations and get down to making music fast and with no fuss.

In “Chromatic” mode, all 127 MIDI notes are passed through unchanged, while the “Key” knob will transpose the incoming MIDI notes up to 11 semi-tones.

MIDI notes are changed depending on the Key & Scale chosen, but all other MIDI data passes through unchanged, with low latency and fast operation.

Compact but tough aluminum case.

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Clandestign NOW PLAYING demo

Published on Jun 2, 2013 MILQUETOASTE·76 videos

"NOW PLAYING consists of 4 digitally-controlled synth voices, each voice running through a digitally-controlled analog filter, realized through 8 custom vactrols. The whole thing is housed in an attractive console case with vintage wrinkle finish and jewel pilot lamp. Data appears via an LCD display, and there's a speaker, output jack, USB port, and power jack for in/out stuff.

NOW PLAYING generates an endless series of tonal polyphonic notes with expressive envelopes and warm lo-fi sound on the internal speaker; cleaner output is available via the output jack.

Sequence of events:

Apply power to NOW PLAYING. USB works, but a wall outlet sounds better. NOW PLAYING is automatically on in USB mode.

If the PLAY switch is on, NOW PLAYING will calculate and play a preloaded routine, forever.

While the 'play' switch is off, NOW PLAYING will be in menu mode, and the parameters of each of the four voices can be scrolled. Pushing the SELECT button allows parameter changing via the SELECT knob while the button is down:

Musical Mode: 33 musical modes: Major, Minor, Adonai, Algerian, Altered, Augmented, Blues, Chromatic, Arabic, Enigmatic, Half Diminished, Bebop, Harmonic Major, Harmonic Minor, Hirajoshi, Hungarian Gypsy, Hungarian Minor, Insen, Iwato, Locrian, Lydian, Hemitonic, Mixolydian, Neapolitan Major, Neapolitan Minor, Octatonic , Persian, Phrygian, Prometheus, Slendro, Tritone, Ukrano-Dorian, Whole Tone.

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ROCK SCHOOL Series 2

You might want to bookmark this one to come back to as you have time. I have posted videos from the Rock School series in the past, but this is currently the most comprehensive set if not the complete series - eight episodes broken up into twenty four videos. I opted to create eight playlists for the eight episodes so you can read the description for each under each set of three videos. This one in via willy who sent in Series 2 - Episode 5 (part 3 of 3) with Bill Bruford explaining his simmons drums. I figured I'd put the whole series up. Videos below.


YouTube Uploaded by tomstimemachine on Jul 14, 2008

"Taking over from where the first series left off, the second set of ROCKSCHOOL television programs focuses its attention on new technology and its implications for the musicians of the day.

Synthesisers, samplers, sequencers and drum machines are all covered, as are electronic drum systems, computer hardware and software (remember this is 1987 - so this is for retro-heads only) and synthesisers for guitar and bass. There are also tips on how to make the most of the human voice, and on songwriting and arrangement.

This series was shown on TV in the UK during 1987.

EPISODE ONE

KEYBOARDS
THE ACOUSTIC PIANO WITH THE COMMUNARDS ON "BREADLINE BRITAIN" AND HERBIE HANCOCK.

HISTORY OF THE SYNTHESISER
TOUCH SENSITIVITY, MODULAR SYNTHS, MINI MOOG, CLIP OF JAN HAMMER AND THE MAHAVISHNU ORCHESTRA IN 1972, CLIP OF RICK WAKEMAN, POLYPHONIC SYNTHS, MELLOTRON, TONY BANKS, SYNTHS WITH MEMORY SUCH AS THE PROPHET FIVE, CLIP OF JAPAN ON THE "OLD GREY WHISTLE TEST", RACK-MOUNTED EFFECTS.

HOW DOES A SYNTH WORK ?
WAVEFORMS, OSCILLATORS, HOW TO CREATE A SOUND, WHAT TO PLAY - CLIP OF THOMAS DOLBY."

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EURO-9HP CV ARPEGGIATOR

via this auction
"The worlds first CV Arpeggio Euro Module that is ready to go and not a kit.

MODEL: EURO-9HP CV ARPEGGIATOR, EURO FORMAT COMPATIBLE.

SPECS:

*TEMPO KNOB: SETS THE SPEED OF THE ARPPEGGIO

*RANGE KNOB: SETS THE 1 OCTAVE TO 5 OCTAVE RANGE OF THE ARPEGGIO

*MOVEMENT KNOB: CONTROLS HOW THE NOTE GENERATOR MOVES THROUGH THE NOTE SET.
THESE ARE THE POSSIBLE MOVEMENTS: UP/DOWN, UP REPEATING, DOWN REPEATING, PENDULUM, UP AND STAY, DOWN AND STAY, & RANDOM.

*NOTE KNOB: THIS SELECTS THE MUSICAL NOTES CONTAINED IN THE ARPEGGIO. YOU CAN HAVE ROOT, MINOR 3RD, MAJOR 3RD, 5TH, MINOR 7TH, & MAJOR 7TH. THE MAJOR AND MINOR IS SELECTED BY SWITCH. SO WHEN

*GATE LEGNTH: THIS SETS THE LEGNTH OF THE GATE OUTPUT OF THE ARPEGGIO

INPUTS:
-TIME CV, RANGE CV, MOVEMENT CV, NOTE CV, GATE LEGNTH CV, TRIGGER ARP (RESET), AND PITCH CV.

OUTPUTS: GATE, MAIN ARPEGGIO OUT.

YOU CAN VISIT THIS PAGE TO VIEW THE ORIGINAL MANUAL AND SPEC OF THE FIRMWARE:
http://www.bartonmusicalcircuits.com/arpeggiator/Arpeggiator%20documentation%201.pdf

THERE ARE PCB HOLES FOR THE CLOCK IN & CLOCK OUT (TRIGGER OUT) ON THE PCB. I RAN OUT OF SPACE ON THE PANEL. THAT IS WHY THOSE ARE NOT ON THE PANEL. MAYBE I WILL OFFER A DIY EXPANDER PANEL OR IF YOU ARE NIFTY YOU CAN MAKE YOUR OWN. THE CLOCK INPUT NEEDS A STEREO JACK, AND THE TRIGGER OUT JUST NEEDS A MONO JACK. ANOTHER OPTION IS TO SACRIFICE ONE OF THE CV INPUTS NOT USED AND USE THAT 1/4" JACK LOCATION FOR THOSE CLOCK OPTIONS."

Blue-ztvco007 by blueztvco
"Here is a bunch of recordings I made as requested. No effects were used. In most cases (2) BLUE ZTVCO's were used. Any other VCO used was a Red VCO & DUO SKEW LFO.
This is competitively priced at $295.00."

Alesis A6 Andromeda 61-Key Polyphonic Analog Synthesizer w/ Custom Dust Cover

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

via this auction

"According to my information, the serial number indicates a 2004 production.

If you’re looking at this, I probably don’t need to tell you the Andromeda is a true beast of a synthesizer. It has 16 voices of fully analog synthesis signal path, along a myriad of digital FX, 16-part multi-timbrality, and so much more.

Functionally, synth is in superb condition. All of the keys, knobs and buttons are tested and working with practically no issues. It’s not uncommon for Andromedas to have jumpy pots, and while going through each knob I did find two pots that experience some minor jumping, but it does not adversely affect operation. This may be remedied with contact cleaner but I’m leaving that choice up to the buyer.

Most importantly, no dead voices, all tune up properly.

Cosmetically the synth is also in excellent condition for its age, but does show some very minor wear and tear. For the most part, the synth looks relatively perfect if you aren’t inspecting it up close. The biggest flaw is some minor damage the right hand plastic end cap. Photo included.

The synth was professionally serviced by my technician in 2020 to resolve some volume output issues. The synth has a clean bill of health now.

Included with the synth are a power cable and custom leather dust cover by Stardust.

Additionally, I have a license for the only VST editor for the A6, which I’ll transfer to you after the sale."

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ROCK SCHOOL - Series 2 - Episode 3 (part 1 of 3)

YouTube via tomstimemachine. sent my way via khoral

"Taking over from where the first series left off, the second set of ROCKSCHOOL television programs focuses its attention on new technology and its implications for the musicians of the day.

Synthesisers, samplers, sequencers and drum machines are all covered, as are electronic drum systems, computer hardware and software (remember this is 1987 - so this is for retro-heads only) and synthesisers for guitar and bass. There are also tips on how to make the most of the human voice, and on songwriting and arrangement.

This series was shown on TV in the UK during 1987.

EPISODE THREE

EIGHTIES SYNTHPOP
CLIP OF THE YELLOW MAGIC ORCHESTRA IN 1979, CLIP OF BRONSKI BEAT.

SO ! - HOW DO YOU MAKE UP THESE SINGLE NOTE MELODIES ?
MAJOR AND MINOR SCALES, TRIADS, CHORDS, CHORD INVERSIONS AND TWO-HANDED KEYBOARD PLAYING.

THE VOCALS
CLIP FROM JAMES BROWN, MIDGE URE ON VOCAL TECHNIQUE AND GRAHAM BONNETT ON LOOKING AFTER YOUR VOICE, CLIP FROM EURYTHMICS."

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