#m5stack Acid Generator Box Prototype Jam with Circuit Tracks

video upload by space fever

"自作の Acid Generator Box の試作機を使ったテストジャムです。
M5Stack FIREとMIDI Unitを使って、MIDIフレーズを生成するガジェットとして制作しています。

This is a prototype jam using my DIY Acid Generator Box built with M5Stack FIRE and a MIDI Unit. The Acid Generator Box generates acid-style MIDI phrases and is used together with Novation Circuit Tracks.

Gear used:

Acid Generator Box prototype
M5Stack FIRE
M5Stack MIDI Unit
Novation Circuit Tracks
MAM MB33"

Minimal acid test with DIY Acid Generator Box and MB-33.

video upload by space fever

"自作の Acid Generator Box の試作機を使ったテストジャムです。
M5Stack FIREとMIDI Unitを使って、MIDIフレーズを生成するガジェットとして制作しています。

This is a prototype jam using my DIY Acid Generator Box built with M5Stack FIRE and a MIDI Unit.
The Acid Generator Box generates acid-style MIDI phrases and is used together with MB-33

Gear used:

Acid Generator Box prototype
M5Stack FIRE
M5Stack MIDI Unit
MB-33"

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New DIY MBLoopA Voxelspace MIDI Looper Vs Alesis Andromeda

[techdemo] DIY MBLoopA Voxelspace MIDI Looper Vs Alesis Andromeda

Published on Jul 1, 2015 Maelstroem3

"First test run of the Voxelspace MIDI Recorder and Looper, that i developed in 06/2015 based on the MIDIbox platform.

The loopa is a small USB-powered device, that records live loops (non quantized, no step recording) of up to eight MIDI clips onto SD card.
Notes (and quarternote beat lines) are visualized in 'Voxel Space'. The clips are looped and beatsynchronized.

The hardware is based on a STM32F4, with a whopping 192KB (yes, kilobytes) of RAM :). The OLED is a Newhaven 256x64x16 bluescale display.

Official build thread:
http://midibox.org/forums/topic/19585...

Hope you enjoyed the demo, it was not musical, just a tech test! :)
More features like session switching, loop length configuration and synced mutes/unmutes should be added, once there is more time :). Yes, I know, there are still a few bugs, especially regarding the position display, that is glitching around a bit, but hey, it has character... :-)

Thanks for watching!
Hawkeye/Maelstroem Records"

via the MIDIbox Forum:

"we recently had some very rainy days in southern Germany and MIDIbox-build-fever struck again, so I had to do something... my project build stack is very large, and even some started projects are not complete yet (MBProgramma), but this one has been on the wishlist for even longer than the Programma, so I just had to start it this year... otherwise it would probably never happen :-).

I have to say, that the MIDIbox platform is phenomenal and addictive! It would be so nice to work on something of this quality on a daily job basis... results can be reached very quickly, the documentation and code base is great. Thanks a lot for everything, TK.!

Let's start...

Motivation
* DAW hate
Turning on the computer and loading a DAW as complex as Ableton or Cubase makes sure any of my already limited inspiration will be gone by the time it is able to record MIDI. I'd like to sit down and "just jam". I felt, very often, that what i played was lost in time, because, of course, the computer was off. So I wanted a simple MIDI recorder, that "just records" automatically a few seconds after turning it on, without any major interaction. If what was just played sounded nice, it would be automatically stored on SD card in compatible .MID format for later playback or even some DAW-based post-processing. If not, well, one could just jam on, or delete the track (called clip in this app).

* Hardware minimalism
Building the unit should be quick and cheap. There should only be a minimum number of buttons and encoders. I managed to build everything including the control surface (yes, i know, it looks cheap, but it also was cheap :-)) on one long weekend - and so can you. We just use standard hardware (STM32F4 core, one DINx4, out DOUTx4 and a nice display). Because there are few components, it is very viable to do it on vector board, no immediate need for PCBs...

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SP1200 Fever - Korg M3

YouTube via TheHeatWaves
""SP1200 Fever" is a sound bank of 1200 samples of percussions for the Korg M3. These samples are organized into 30 drum kits.
www.theheatwaves.com"

Heat Drums - Korg M3

"'Heat Drums' for the Korg M3 workstation gives 90 new drum kits (composed from 3600 sounds of percussions) and 100 new Combis.
www.theheatwaves.com"

Drums From Outer Space & EXB-Radias Sounds - Korg M3

"The "Exb-Radias Sounds" adds 128 new Combis and 256 new Programs to your Korg M3.
"Drums From Outer Space" for the Korg M3 workstation gives 27 new drum kits (composed with 1600 sounds of percussions).
www.theheatwaves.com"

Sinister Cat Sound Design & More With Soundtoys Design Week Sale

video upload by soundtoys

Note Soundtoys is having a Sound Design Week sale with up to 80% off. You can find details on Soundtoys website here

Above: "Turn an adorable cat’s purr into a sinister, ominous monster. With a few simple turns of the knobs, you can use Soundtoys to pitch-shift, distort, reverberate, and radically transform your sound source.

Download the 'Sinister Reflections' preset: http://bit.ly/3RhfM8S
Drag, drop, and save it into Effect Rack to get started."

'Soundscapes' Preset Expansion Pack for Soundtoys Effect Rack (FREE)


"Hear examples of all the presets from the Soundscapes expansion pack of sound design drone presets for the Soundtoys Effect rack.

Artic Blast – A howling winter wind and bone-chilling swirls that batters you sonically
Auto Horror Soundtrack – A building-changing horror soundtrack that just does its thing
BrokeBot March – Rhythmic noisy machines
Computronical – Rhythmic computer noises from a lost time
Feedback Space – A sonic desolate evolving space
Into The Darkness – The darkness is alive and changing as it moves around you
It's Coming For You – Something is coming. Another creepy rhythm effect to live in
Laser Practice Range – Classic gameplay laser sounds that pew-pew all night long
Mechotron Speaks – If robots had a language, this preset would talk to them, and they'd be like, right on
SynDrone – A rhythmic pulse to create a vibe
Tesla Coil – Electric Zaps from the lab
The Birds – The original angry birds from Hitchcock are all around

Download the expansion pack at www.soundtoys.com/sound-design"

Game Audio Vocal Sound Design With Soundtoys


"Whether making subtle enhancements or radical transformations, watch how effects can alter the character of a voice and create a truly immersive experience. The presets you hear are:

Angry Stereo – A gritty and stereo-lizing fx that makes the vocal sound bigger than your speakers.
Fever Dream – A fast-paced distorted panning movement to disorient any vocal.
Waterpipe – A feedback-heavy metallic-sounding echo with a short delay time.
Angry Radio – A nostalgic sound that resembles old-school radio-filtered distortion.
Robot Laugh – A re-sampled and pitch-shifted quick slap robotic echo for any vocal sources.

Download the presets: http://bit.ly/3DrbbeR
Drag and drop on Effect Rack to get started."

Fever Ray producer Christoffer Berg takes us inside his stunning Gothenburg studio

Published on Aug 30, 2018 FACTmagazine

"A synth haven in the heart of Sweden.

Christoffer Berg may not be a familiar name but you’ve most likely heard his work: as well production and engineering for Depeche Mode, he’s worked extensively with both The Knife and Fever Ray.

We were given the opportunity to visit his Gothenburg studio and jumped at the chance, having heard rumors of his one-of-a-kind synth collection, which includes one of the very first synthesizers made in Europe.

Christoffer also took us next door into Svenska Grammofon Studion, a famous recording space that counts Foals, The Hives and Jose Gonzales among the artists who have made music inside it."

JUPITER T - Mini Analog Touch-Sensitive Synth SN#001

via this auction

"Make contact with the new JUPITER T. Chamber of Sounds brought you the Jupiter III, now we're bringing on the Jupiter T - with finger-touch control! The more skin you apply to the sensors, the louder it gets - it's super-sensitive too. Model T does all the cool optical-theremin and trigger-input madness of the Jupiter III, plus has a DC power input (does not run on batteries). You'll get a complimentary 9V power adapter and LED lightstick with it too, to deliver your wildest sonic experiments.
This is the first one available to the public with the blue faceplate (#001). It doesn't even appear on our site or videos yet - so you will get the blue one pictured above.
Jupiter T is a fully analog & expertly hand built into a super-strong, ABS plastic, control case, similar to what might be on a spaceship in the 70s (think Logan's Run). It has oversized, MXR knobs, nickel-plated sensors, a slick, acrylic, control panel and is built with the finest components we can get our hands on. The sounds are ridiculously huge and unmistakably analog, you'll throw out your cheesy, analog-emulation devices when you hear it.
Be the first in your region to own this awesome mini-synth. There will only be a very limited run of these, so don't miss out.
Go freakin' space-crazy with Jupiter T, only from Chamber of Sounds
This unit is #001, signed, dated & numbered.
You cannot get it anywhere else on the planet, except direct from Chamber of Sounds.
Check out my feedback to see how pleased people are with COS products, shipping & customer service.
Finally here's the Jupiter T in action..."

Jupiter T - Touch Sensitive Analog Synth

previously posted
Jupiter T - Crossmod Fever

previously posted

Ocean Swift releases "Resonant Worlds" - A Cinematic Themed Expansion for Absynth 6

video uploads by Ocean Swift / Faxi Nadu

Press release follows:

Resonant Worlds is a preset and sample expansion for Native Instruments Absynth 6, developed by Ocean Swift. The developer quotes:

“Resonant Worlds is more than an expansion; it is an evocative descent into the soul of Absynth. Drawing inspiration from the stark, spiritual isolation of Inuit landscapes, the vivid, fever-dream textures of Van Gogh’s impressionism, and the legendary Ocean Swift synthesis lineage, this collection captures a sound that is both ancient and otherworldly.”

Resonant Worlds for Absynth 6 is available now for €19.99, with an introductory 50% discount running until February 10, 2026.

https://oceanswift.net/product/absynth-resonant-worlds/ Creative direction

Arctic and Inuit-inspired atmosphere: cold, expansive textures with a focus on space, distance, and sparse detail

Impressionist influence: swirling motion, vivid harmonic coloration, and “Green Fairy” tonal motifs

Ocean Swift methodology: precision in tuning, looping, and consistency, paired with experimental timbral design

Contents

202 Absynth 6 presets: 138 synth patches and 64 FX-focused presets

185 bespoke samples: curated for Absynth’s resonator and granular workflows, also usable in other samplers and instruments

NKS support: macros, deep tagging, and audio previews

Production standards: developed with the same general rigor and aesthetic consistency associated with Ocean Swift’s prior Absynth-related content contributions

MEECAS 2011 Midwestern Experimental Electronics Conference and Showcase

"MEECAS 2011
What have you been tinkering with?

Saturday, October 22
12 Noon - 12 Midnight
Lizard's Liquid Lounge
3058 W Irving Park Rd. (map)

The annual Midwestern Experimental Electronics Conference and Showcase (www.MEECAS.com) is a free, day-long, inventors' networking symposium highlighting the past year's innovations in the areas of Musical Instrument Design, Performance, Circuit Bending, Data Hacking, and Video Art.

There are lectures, demonstrations, interactive installations, a daytime circuit bent open mic, and an evening's showcase of the Midwest's most innovative artists and inventors. Children welcome from Noon - 4:00 PM if accompanied by a parent.

Inventors, Artists, and Musicians are encouraged to bring their latest experiments, instruments, videos, etc. to demonstrate during the circuit bent open mic or to place on the "work table" as part of the interactive installations section of the event. Audio-based installations should include headphones.

EVENING SHOWCASE: 6:00 PM - Midnight
This year's Evening Showcase features the work of:
- TOYDEATH, Toy Town, Sydney, Australia (their first ever webcast!)
- Tim Kaiser, Duluth, MN (last performance of his Fall tour!)
- Talking Computron, Minneapolis, MN (the force behind Get Lo Fi)
- Spunky Toofers, Columbia, MO (part man, part circuit, all jazz)
- Space Gun Bunny, Fort Wayne, IN (design, explore, repeat)
- ROTH MOBOT, Chicago, IL (circuit bent toys, granular synthesis, & electroacoustics)
- The Ring Toss Twins, Minneapolis, MN (witchy use of technology)
- Mother Daughter Crime Team, Chicago, IL (sychronized MIDI/CV circus)
- Dustin E., St. Louis, MO (noise artist extraordinaire)
- CMKT4, DeKalb, IL (pioneers of future fusion)
- Alex Inglizian, Chicago, IL (musician engineer)
- adamon, Topeka, KS (synth drone lord)

VIDEO PROJECTS: Noon - Midnight
Various Artists (Experimental electronic video projects welcomed!)

INTERACTIVE INSTALLATIONS: Noon - Midnight
Various Artists. (Experimental electronic projects welcomed!)

WORKSHOPS, PRESENTATIONS, DEMOS: Noon - 6:00 PM
Noon - 1:00 PM, Vactrol Fever with Patrick McCarthy
1:00 PM - 3:00 PM, Build a Bending Buddy and/or Build a Contact Mic with CMKT4
3:00 PM - 6:00 PM, What is Circuit Bending? with Various Artists
5:30 PM - 6:00 PM, Brains from the Thunderbirds, The Audio of the Aurora Borealis with Sam Piro

MEECAS STORE: Noon - Midnight
Exhibiting and performing artists will be selling recorded works, experimental musical instruments, electronics kits, apparel, etc. to offset their costs.

LIVE WEBCAST: 5:30 PM - Midnight, CST
www.ustream.tv/channel/meecas-2011

CALL FOR DEAD BATTERIES: Noon - Midnight
Bring your dead batteries to the MEECAS and we will send them to a proper eWaste recycling center. Last year the MEECAS audience brought enough batteries to fill a bucket!

ULTIMATE GUIDE TO BASTL PIZZA // Elevate your Eurorack patching with advanced hybrid synthesis

video upload by DivKidVideo

"Here we have PIZZA! Everyone loves PIZZA right? Is pineapple on PIZZA fine? Leave a comment and let the flame wars begin! Joking aside this is PIZZA from BASTL Instruments a hybrid FM and waveshaping oscillator that packs in a lot of interesting sonic options and lots of clever CV assignment for working with the module as an advanced oscillator or even a full synthesis voice.

As always this demo is about pushing this with musical and creative ideas to advance our patches and exploring synthesis. Try out these patches with your gear and leave a comment letting me know how you get on.

Part of this video was filmed while full of a cold/flu bug. Filmed as the fever subsided but still with a viral party in my mouth, so apologies for the weird (weirder than usual) accent in places.

TIMING INDEX // CHAPTERS

00:00 Welcome and patch previews!

01:51 What is Pizza?

02:21 Fulsome feature run down

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An Interview with Alessandro Cortini

Alessandro Cortini is the man behind SONOIO. He played synths for Nine Inch Nails and brought us the SuONOIO synthesizer produced with Scott Jaeger of The Harvestman.  Alessandro  is known for his use of Buchla systems new and old.  He currently has a new free release featuring remixes from Alan Wilder, Telefon tel aviv, Eric Avery and more. There is also a 7 inch for sale on www.sonoio.org.

The following is my interview with him primarily focused on synths.

1. How did the world of synths start for you?

"I was schooled on guitar, back in italy. I am from a very small town so there weren't a lot of bands to play with... I got asked to "help" and record guitars on a record by a local band, called Autobeat, fronted by Franco Naddei (now francobeat). He was really into synths and electronica, so he basically opened a whole new world to me.... He ended up doing a remix for SONOIO on the upcoming remix record which is very cool, considering he was the one who introduced me to Depeche Mode (Alan Wilder is doing a remix too)."

2. What were your first synths and what did you think about them?

"Besides from my friend's instruments, my first "synth" was a Casio VL series, if I recall correctly, when i was 10 years old. On a more involved level, I personally started with software. The first one was Seer Systems Reality on PC...I moved to mac as soon as i could, and started using Cubase's Neon a lot (a small built in VST). Next were Bitheadz Retro AS-1 for synths and Unity DS-1 for samples, all "synced" to Logic (it definitely wasn't as elegant as it should have been).


Emagic's ES-1 was sort of a "step up" because of its integration with Logic...but didn't sound too good.

Bottom line is that I recall being extremely excited and happy for being able to record and compose on my laptop wherever I was, and didn't see the need for hardware synths.... until I borrowed a minimoog and spent a good 4 hours with headphones, a pencil stuck in a key to keep it going and tweaking knobs: that made it obvious that interface, much more than sound, were the reason why it was worth to commit to a dedicated hardware unit.

My infatuation with the minimoog quickly vanished, and moved onto NordLead, Nord Modular and lastly a small used Analogue Systems modular synthesizer. The AS was the beginning of a long relationship with modulars: for once, there were no rules, no predefined paths and no wrong moves (almost).

I expanded my AS until I sold it in order to buy an old paper faceplate Serge, which was then sold once I got Buchla fever…."

3. I still remember the day you announced you'd be working with Nine Inch Nails. What synths did you use at the time and what was that experience like?

"At the time I was still using my nord modular and AS modular.... The audition was odd: I was basically instructed to play on top of a live recording, which I did. The first two songs I played were Wish (on guitar and synths) and Closer. I remember preparing my little patches on the Nord Modular for the audition... I wish I kept those sounds cause they were pretty funny.


The whole NIN experience was amazing, especially the time in the studio working on Ghosts.
I have to admit the reason I left was touring, which became a bit too strenuous and not enjoyable anymore.

I got very involved in the studio side of things: I feel much more at ease working on music in a studio environment than performing live. Live performance always feels like a test, to different extents, generally with little room for spontaneity (my opinion, of course)."

4. Did you explore any interesting synths or new forms of synthesis at the time? I recall Trent Reznor used the Dewanatron Swarmatron for "The Social Network" He is also known for having a few coveted pieces of gear including one of two Waldorf Shadow XTks.

"Trent has a studio full of toys so I had the chance to play with a myriad of instruments I have never seen or heard before...but in the end I would always gravitate towards the modular."

5. You are known in synth circles for you use of Buchla modulars. How did you get introduced to them and what was it that gravitated you towards them vs. other synths? How do you approach the Buchla and how has it impacted your music?

"When I was teaching synthesis at Musicians Institute I basically had to write the curriculum myself. Part of it included an introduction to the history of these instruments and I remember being completely mesmerized by some of the Buchla photos I was able to track down... the way the instrument looked like a toy, like a self contained instrument that first and foremost called you to play with its looks.

I remember when Don announced the 200e series in 2004: I printed the whole site so i could have in my student role book and read it during breaks... I was obsessed.

Peter Grenader was responsible for introducing me to historical Buchla records such as Subotnick's Sidewinder and Sky of Cloudless Sulfur, and his Plan B modules kept my hunger for Buchla inspired technology in check for a while... until I was able to afford my own 200e system.


I am fortunate enough to own both a 200e and a vintage 200 system."

6. How do the Buchla 200e and 200 compare in your opinion, specifically in regards to sound and interface?

"I would say the interface is very close, unless you start analyzing high density 200e modules such as the 251e, where there's a lot going on in a small space. Soundwise, there are similarities, yes, but I see them as two different instruments, and approach them as such.


I love the 200e's 259e wavetable waveform generators, and the ability to use patch storing in a creative way.The 291e is undoubtedly superior to its 200 version, in my opinion. The 222e/223e input port is the culmination of Don's 40 years tinkering with touch surfaces.

The 200e has its own sound and you'd be disappointed if you wanted it to sound like a 200. It just doesn't do it well, mainly because it wasn't designed to recreate that aspect of the 200 instrument, in my opinion, but mostly its interface, applied to modern technology.

7. Recently you've been using the Teenage Engineering OP-1. What are your thoughts on it? How do you like working with it, specifically the physical design and interface, and of course as an audio processing tool?

"I think the OP-1, with its limitations and quirkiness, is a very creative instrument. I can't deny being a bit disappointed by the electro style demos that started popping up once it was announced, but as soon as I got my beta unit it was undeniable it could be used to do completely different things. It goes wherever I go!!! I enjoy the well laid out interface and its sound engines, which are fairly unique in their incarnation. It's a great sketchpad for ideas and sound design, and I have been using it on tour as a vocal effect also."

8. Aside from the Buchla and OP-1, what other synths and/or forms of synthesis do you find yourself gravitating towards when experimenting with sound and music?

"Definitely the more odd looking/sounding ones, preferably without a keyboard."

9. You recently worked with The Harvestman on the SuONOIO. How did that come about and what was that experience like?

"Once I finished recording the first SONOIO record, Blue, I wanted to come up with an interesting product to accompany its release. Something similar to a Buddha Machine, but playable, and something original like a BugBrand synth, but still linked to the album release.... It became clear that it had to be an analog/digital hybrid. Scott was the first to come to mind, as i believe he is extremely talented in bringing the advantages of digital design to an analog interface. After a few phone calls and 3 weeks later, we had the 1st prototype ready....2 protos later, the instrument was done. It was a very quick back and forth collaboration... almost makes us feel guilty, since we had so much fun making it!"

10. Do you see yourself more as a performer, an explorer of synthesis or a bit of both depending on context?


"I really just like playing with instruments and come up with interesting sounds. I am not too good at describing what I do... I just do it!"

11. Is there anything else you'd like to share with our readers?


"I am working on releasing my first instrumental record...it should be out early next year...i am very excited to release it!"

Photos above by Sarah Sitkin



You can find Alessandro Cortini's work at http://sonoio.org/. He currently has a new free release featuring remixes from Alan Wilder, Telefon tel aviv, Eric Avery and more. There is also a 7 inch available.

Happy Birthday Commodore Amiga!

The Amiga Demoscene Mixtape Vol. 1 - mixed by DJ Arvy (The Old-School Classics Edition)

Published on Jun 11, 2013 DJ Arvy

The Commodore Amiga turns 30 today! via Boing Boing

Playlist:

1. The Amiga Demoscene Mixtape Vol. 1 - mixed by DJ Arvy (The Old-School Classics Edition)
"A non-stop DJ Continous Mix featuring some of the greatest and most popular Soundtracks from the early 90s Old School Amiga Demos.

Playlist:
0:05 "Deep Space" by Greg (from "Odyssey" by Alcatraz, 1992)
0:45 "Stardust Memories" by Jester (from "World of Commodore" by Sanity, 1992)
4:15 "Part6" by Greg (from "Odyssey" by Alcatraz, 1992)
6:35 "Hyperbased" by Firefox & Tip (from "Enigma" by Phenomena, 1991)
11:19 "Checknobankh" by Laxity (from "Desert Dream" by Kefrens, 1993)
14:25 "Elysium" by Jester (from "Elysium" by Sanity, 1991)
17:50 "Vite and Plack" by Virgill (from "Interference" by Sanity, 1993)
21:41 "Part3" by Greg (from "Odyssey" by Alcatraz, 1992)
23:21 "Overload" by Firefox & Tip (from "Voyage" by Razor 1911, 1991)
29:30 "Nagual Dance" by Jugi (from "Paradigma" by Complex, 1993)
33:35 "Demomodul#3" by Laxity (from "Desert Dream" by Kefrens, 1993)
37:55 "Cyberride" by Jester (from "Extension" by Pygmy Projects, 1993)
42:16 "A nice Day for a Walk" by Julius / Mad Freak (from "3D Demo II" by Anarchy, 1992)

Free MP3-Download at soundcloud:
https://soundcloud.com/deejay-arvy/th..."

2. The Amiga Demoscene Mixtape Vol. 2 - mixed by DJ Arvy (Old Skool) ft. Mods by Moby, Laxity and more

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