1. Roland S-1 | Synth Sound Design Basics Tutorial | Master the S-1: Ep. 1
This is the first video in my series on mastering the Roland S-1. In this episode, I cover the essential sound design features of this powerful little synth. Future videos will dive into advanced sound design, creative jamming techniques, sequencer tricks, and anything else you’d like to see.
2. Roland S-1 | Advanced Sound Design Tutorial | Master the S-1: Ep. 2
The S-1 has a hidden super power: Custom Waveforms. Using the oscillator draw function you can input your own custom waveforms to create new sounds you wouldn't expect from a mini-SH-101 clone. I have a few that I use all the time and I wanted to share them with you. I hope you enjoy!
3. Roland S-1 | Sequencing Tutorial | Master the S-1: Ep. 3
The Roland S-1 sequencer isn't the most advanced, but it offers a surprising amount of utility for its small size. For me, the S-1's sequencer is a quick and effective way to capture ideas and jam, in ways that even more advanced synths and grooveboxes don't always inspire. I get a lot of enjoyment from punching in patterns on the S-1 and using the tips and tricks I show in this video to create tracks and explore new ideas through jamming.
If you'd like to support me and receive extra patches, patch reference sheets, and more, please visit patreon.com/Mark_Young
4. Roland S-1 | Voice Modes Tutorial (Poly, Chord, Unison, Mono) | Master the S-1: Ep. 4
The Roland S-1 has four voice modes which can be used for different sound design purposes. I received a lot of requests to make a video on the chord mode functionality, so I figured I would expand it out and cover all of the different S-1 Voice Modes. I'll dive into each one mode and give some ideas for how to use them, with emphasis on chord mode. Let me know if you have any questions!
"Spitfire Audio announces update to significant SPITFIRE SYMPHONY ORCHESTRA release recorded at AIR, adding three stunning-sounding soloists
LONDON, UK: Spitfire Audio is proud to announce availability of an update to its significant SPITFIRE SYMPHONY ORCHESTRA release — relatively recently relaunched with reviewed content and an updated UI (User Interface) in a single more user-friendly package that became last year’s bestseller as a set of flagship virtual instruments featuring full SYMPHONIC STRINGS, SYMPHONIC BRASS, and SYMPHONIC WOODWINDS sections (including solo instruments, plus harp, piano, and all core elements of percussion needed to complete the band), beautifully performed by top-tier musicians who have featured on some of the top film scores of the last decade, duly captured in Lyndhurst Hall’s hallowed acoustic at London’s legendary AIR Studios as some of the leading sounds and sample libraries creator’s best, most classic recordings, readily realised as a definitive selection of blockbuster sounds that have already made their musical mark in hundreds of AAA film, game, and TV score productions by the world’s top composers and music- makers — with the welcomed addition of SOLO STRINGS, featuring three stunning-sounding soloists, as of February 6…
"In this video, I visit and talk with former New England Digital Synclavier Product Specialist Kevin Maloney while surrounded by his two Synclavier Digital Music Systems.
Together, we present a complete history of the Synclavier with a stories and examples of how we used it on some massive hit records and films.
First, we listen to a track on the the original blue vinyl record titled
'The Incredible Sounds of the Synclavier II Demonstration Record'
that was the original source sound for the intro to Michael Jackson's 'Beat It'.Kevin's talks about sitting next to Michael while working on the Bad" album.He'll show us a complete breakdown of the components that make up the "Smooth Criminal" bass sound and a recreation of the sampled drum part.Then you'll see, in real time, how Synclavier's unique sequencer can drastically and quickly manipulate (or even transform) the recreated "Smooth Criminal" track.Kevin tells us how he worked closely with producer Quincy Jones to create the intro to "We Are the World". Quincy wasn't satisfied with silver bells, so Kevin turned silver bells into gold bells. Quincy said, he wanted to “send out bells to call all the people of the world to come and hear this song”. We delve into the Synclavier's one-of-a-kind ability to analyze samples (recordings of instruments or sounds) in order to create a series of short frames that each consist of a static wavetable. By cross fading the frames the user is able to recreate the complexity of a sample with a synthesizer sound. This process is called Resynthesis. The user is now able to manipulate the synthesizer sound in many more ways than can ever be done with a sample. We then heavily distort some vocal sounds that were generated using Resynthesis to show the level of control that is possible. We take a look at some preset sampled sounds from the original Synclavier Orchestral library including the string sounds used by Mark Knopfler in Rob Reiner's "The Princess Bride". Anthony talks about how he created a flute sound generated from Resynthesis and later used it to perform practically every cue in the film "Stand by Me" which is another Rob Reiner hit. We take you through the evolution of the Synclavier that includes: The Synclavier I, the Synclavier II with it's original keyboard, the addition of the velocity and polyphonic keyboard, The expanded track sequencer, the addition of more buttons and secondary functions accessed by double clicking the buttons to send them into "blinking mode". BTW - These buttons were originally designed for the B-52 bomber.
We cover MIDI, SMPTE, polyphonic sampling voices and more memory (at a cost of $4500 per megabyte) that were available to add to your system.
We highlight the reason why the Synclavier cost so much and how New England Digital managed to integrate cutting edge 3rd party technology that all worked perfectly together in one unified music system. Finally we review the far more accessible versions of the Synclavier like the Synclavier V by Arturia, Synclavier Go! and Synclavier Pocket! and the most recent addition to the family - Synclavier Regen which actually has unlimited FM synthesis and sampler voices along with the long awaited... resonant Multimode FILTERS!!! The evolution of Synclavier is filled with a plethora of breath-taking features that were nowhere to be found on any other single instrument and it includes a discography of legendary proportion. It's also a history that's deeply personal to me because it ran parallel with my evolution as a composer, songwriter, arranger and programmer. The Synclavier is alive and well in 2023!
Anthony's musical touch as both composer and performer is connected with some of the most influential creative minds over the last 40 years. He’s composed and conducted original orchestral scores for over 80 feature films including Young Guns, Internal Affairs, The Man From Elysian Fields, 15 Minutes and Planes, Trains & Automobiles, been commissioned by the Los Angeles Philharmonic for his symphonic work "In the Family Way", written over one thousand TV commercials in a myriad of musical styles, co-founded Levels Audio Post (LA's premiere post production facility) and performed and arranged on big-box-office films and influential hit records such as Michael Jackson's Thriller.
"This is the true story about how the Quasimidi Polymorph got its name.
Back then, from 1995 to 1998, I was young and naive and getting the job as a product specialist and sound programmer at Quasimidi seemed incredibly cool to me!
What I really experienced there, you will learn in this vide. True synthesizer history!
"New video: NuRad, Steiner Microcon resurrected, and modular light painting with sound.
Relentlessly thorough sound demo of the Nyle Steiner Microcon synth (this is the reissue/redesign by the brilliant, David Ingebretsen with consulting from Nyle and using original schematics. David worked as a young man for Steiner-Parker, and built modulars, Synthacons and all the good stuff, so he knows what this stuff is meant to sound like. True to the schematics.
Please forgive that YouTube compression introduces some distortion. It is still worth it as it gets things out there for many people. I'll provide a link here later for some downloadable and/or better quality sound examples as time permits.
For waitlist/info on the wind synths played (NuRAD and NuEVI), email Berglund Instruments at TheNuEVI@gmail.com"
"SUPERBOOTH18 at FEZ Berlin - 03-05 May 2018 - Trade Fair for Electronic Musical Instruments. The latest developments in (modular) synthesizers, keyboards, effects, studio equipment and software.
Almost 250 exhibitors from all over the world, 22 concerts and Gesprächskonzerte daily, panel discussion, workshops and much more.
It starts at 11:30 am with the spacious boat shuttle starting at Jannowitzbrücke and a trip through the eastern part of the German capital. Arrived at the FEZ Berlin the visitors can enjoy daily at 1 pm the first concert of the still young day program on the Seaside stage, or they can attend one of the beginner workshops on modular synthesizers, one exclusively for women and non -binary persons, and one open to everyone. Gammon, together with a school class, develops a performance for the Modular Synthesizer Ensemble, presented daily at 1:30 pm. Afterwards, at 2 pm, the promotional stage program begins with concerts by Caterina Barbieri on a modern Eurorack modular system and Leon Michener on a prepared grand piano. Altogether there are 11 concerts of this kind daily, on Friday for example with Bernd Kistenmacher on classical synthesizers, as well as Udo Hanten on a 5U modular system. On Saturday, among others, there will be the Gesprächskonzert of Nonlinear Labs with Stephan Schmitt and the C 15 keyboard. Parallel to this, DIY workshops, specialist workshops from the participating educational institutions and the entertainment program of the other exhibitors will take place throughout the day. So it makes sense to come to SUPERBOOTH18 for more than one day, to also watch the concert of Carolina Eyck on the Theremin or Tobi Neumann and Fadi with an ambient performance.
For people who like to sleep a little longer the boat shuttle is available at 2:30 pm or 5:30 pm. Thus one reaches the FEZ Berlin on time for the evening program and for spending some time on the exhibition before the evening program begins at 7 pm. Here #instantboner, T.Raumschmiere & FucketYbUcKetY, Ströme and Tikiman shake hands. With the low -priced ticket for the evening hours you can also see Boys Noiz with 2244, ATEQ, GusGus and many others. Max Loderbauer, who was on the SUPERBOOTH17 stage last year together with Ricardo Villalobos, will play together with Tobias Freund as NSI this year.
Those who like it a bit quieter will be pleased about the film screening of The Potential of Noise, a documentary about the legendary music producer and studio operator Conny Plank. The film is commented and explained by the initiator of the film, the son of the protagonist. On all three evenings there will also be discussions with guests such as Daniel Miller, Uwe Schmidt and Mark Ernestus. Some aspects of The Potential Of Noise will also be addressed here. During Thursday's SOOPERtalk Lady Starlight, Andrew Huang, Lady Blacktronika and Mylar Melodies will discuss the fascinating interaction between humans and machines in the creative context of music making.
The return trips of the boat shuttle at 8:30 pm and 12:00 am take the guests directly to the landing place at the Jannowitzbrücke in Berlin Mitte, from there it is not far to the official after-show location C-Base. The after-show program will be announced at short notice.
More details and additions to the three-day program can be found on the official website. You can also keep up to date by subscribing to the newsletter on superbooth.com.
SchneidersLaden presents: SUPERBOOTH18
May 03 – 05, 2018
FEZ Berlin, Straße zum FEZ 2, 12459 Berlin
Opening hours
10am – 1pm tradevisitoropeningtimesforprofessional visitorsonly(ticketscanbeorderedonline, with proof of professional classification)
1pm – 7pm public opening hours for the trade fair
7pm – 11.30pm evening program
Day tickets allow access to the fair from 1pm to midnight. Discounted tickets are offered for the evening program on superbooth.com.
All tickets from the presale entitle you to use our shuttle boats free of charge as long as sufficient seats are available on board.
Boat shuttle – Jannowitzbrücke to SUPERBOOTH18
08.30am Exhibitors/ professional visitors 11.30am Regular guests
2.30pm Late risers
5.30pm Guests coming for the evening program
Boat shuttle – SUPERBOOTH18 to Jannowitzbrücke
8.30pm 0:00am perfect to get to the after-show program in the C-Base on time
“Herbie Hancock, George Clinton and Eumir Deodato. Elton John used an ARP String Ensemble on his hit song 'Someone Saved My Life Tonight', The Rolling Stones in their hit Fool To Cry, The Buggles in 'Video Killed the Radio Star' and Rick James used it in his song 'Mary Jane'. In 1975, George Harrison used the ARP on his song 'You' and the same year The Bee Gees played it on their hit 'Nights on Broadway'. Stevie Wonder played the famous string line on Peter Frampton's 1977 ballad 'I'm In You'. The Solina string sound has also been used by Kim/Ricky Wilde, Pink Floyd, The Cure, The Chameleons, Joy Division, Neil Young and Crazy Horse, and Air.”
Published on May 29, 2014 Spitfire Audio·114 videos
"A look at our new signature library from the synth pioneer Martyn Ware - founder member of The Human League and Heaven 17 http://www.spitfireaudio.com/martyn-w..."
And the press release:
"Spitfire swells Signature Range with synthpop production pioneer Martyn Ware
LONDON, UK: compositional tools creator Spitfire Audio is proud to announce availability of MARTYN WARE - NO ILLEGAL CONNECTIONS — the latest addition to its swelling Signature Range of sample libraries (where legendary composers, producers, and sound-smiths curate award-winning sonic DNA for future music-makers) for Native Instruments’ KONTAKT 4 or 5 (Mac OS X 10.7 or higher and Windows 7 or later) — as of May 30...
A distinctive pattern, product, or characteristic by which someone or something can be identified. So reads a typical dictionary definition of the word signature. Spitfire Audio’s Signature Range sample library luminaries certainly have a signature sound, hence the apt appellation. As one of the most successful, influential, and prolific film composers of his generation, Hans Zimmer — with whom Spitfire Audio previously collaborated on the HZ PERCUSSION - LONDON library, a definitive collection of hybrid cinematic widescreen percussion ensemble excellence — surely needs little in the way of introduction, for example.
Today it is with great pride that Spitfire Audio welcomes another trailblazer to its legendary Signature Range sample library lineup with MARTYN WARE - NO ILLEGAL CONNECTIONS. This time namesake legendary synthpop production pioneer Martyn Ware — founding member of electronic trailblazers The Human League and synth-funksters Heaven 17, and also a revered record producer in his own right with a sizeable number of super-successful credits to his sought- after name with over 50-million sales worldwide for the likes of ‘Queen of Rock ’n’ Roll’ Tina Turner, American singer-songwriter Terence Trent D’Arby, and eternal electro-poppers Erasure — offers up an exclusive collection of favourite analogue synth and drum sounds from his prized collection of rarefied electronic delights. These include Korg’s mid-Seventies-vintage Mini-KORG 700 ‘simple’ analogue monosynth and the Roland System 100 semi-modular monophonic synth with which Martyn made his name on early Human League classics like ‘Being Boiled’ — though the examples used on MARTYN WARE - NO ILLEGAL CONNECTIONS were actually gifted to Martyn by Erasure synth Svengali Vince Clarke (who openly admitted to being influenced by those early electronic recordings) upon discovering that Martyn had long since sold his originals — and the early-Eighties-vintage Jupiter-8, Roland’s first truly professional programmable analogue polysynth that formed the backbone of Heaven 17 hits like ‘Temptation’. Before making their own distinctive mark on the hit parade, prior to owning a drum machine, Martyn and his Human League (and Heaven 17) synth-playing partner Ian Craig-Marsh’s make do and mend modus operandi involved rhythmically riding faders on the aforesaid System 100 and its associated Model 104 Sequencer to create bass and snare drums on the fly! Little wonder, then, that the then-young Vince Clarke sat up and took note during his fledgling Depeche Mode days.
Having joined forces with Vince Clarke to form The Illustrious Company, combining their talent to exploit the creative and commercial possibilities of their unique three-dimensional sound technology in collaboration with fine artists, the performing arts, and corporate clients worldwide, Martyn extensively lectures on music production, technology, and creativity at universities and colleges around the world when not working in his studio space at London’s Tileyard Studios complex — coincidentally, also home to Spitfire Audio!
By way of further background to the welcome MARTYN WARE - NO ILLEGAL CONNECTIONS release, Spitfire Audio co-founder Paul Thomson tellingly pays tribute to the accomplished individual in question before going on to introduce the latest Signature Range sample library itself: “Martyn’s a legend in the electronic music field. He’s a founder member of The Human League; his first massive hit was ‘Being Boiled’. And then he left to form Heaven 17 with Ian Craig-Marsh; they had another massive hit with ‘Temptation’, although American audiences may be more familiar with the hit ‘Let Me Go’, which was played hugely on KROQ and MTV over there. He went on to produce with huge success; he helped relaunch Tina Turner’s career with ‘Let’s Stay Together’ and ‘Private Dancer’. He produced Terence Trent D’Arby, Marc Almond, Erasure, and many others. His early albums were direct precursors, in many ways, to the directions that hip-hop took Stateside when it went electro in the early Eighties. We believe that the key to sampling synths is not just good signal chain, but it’s also the curatorship of the sounds, and this is a rare opportunity to share in Martyn’s sonic approach — the buttons and dials that he tweaks to suit his taste and his heritage. So we get to see what he can come up with on these machines — fantastic synths like the Roland System 100, Jupiter-8, and the Korg 700. We’ve also got a warped collection, which is kind of sound designed from this original material. We’ve got some modern interpretations, but it’s largely curated to be in the spirit of Martyn’s style — how the young electronic acts in the UK inspired the likes of Afrika Bambaataa with the burgeoning electro and hip-hop scene Stateside in New York and the South Bronx.”
It goes without saying, therefore, that Martyn Ware and his creative cohorts proved inspirational back in the day while MARTYN WARE - NO ILLEGAL CONNECTIONS clearly is inspirational today to anyone looking to make musical use of a broad selection of pads, leads, drums, effects, tempo-locked sequences, and all manner of curios created by the man himself, with additional sympathetic sound design by award-winning composers and producers — all presented in ‘Super Mono’ to provide a selection of channels processed via vintage Class-A analogue outboard. With over 270 piquant presets — some with up to five distinctly-different mixable signal paths — providing a total library size of 13.5 GB in compressed downloadable data from 25.1 GB of WAV files totalling 11,016 samples, such musical inspiration from a true trailblazer is unlikely to dry up anytime soon. Just ask the now-not-so-young Vince Clarke — all set to release his 16th studio album with Erasure, his third successful group since first hearing Martyn Ware’s time-honoured Human League tones 30-plus years ago!
MARTYN WARE - NO ILLEGAL CONNECTIONS can be purchased and downloaded directly from Spitfire Audio for an introductory promotional price of £75.00 GBP (subject to VAT within the EU) until June 12, 2014 (rising to £99.00 GBP thereafter) from here: http://www.spitfireaudio.com/products-page (Note that this will require a full version of Native Instruments KONTAKT 4 or 5 to run.)
For more detailed info and individual demos from Spitfire Audio co-founders Christian Henson and Paul Thomson skilfully showcasing MARTYN WARE - NO ILLEGAL CONNECTIONS’ creative sound design visit the dedicated webpage here: http://www.spitfireaudio.com/martyn-ware-no-illegal-connections
Watch Spitfire Audio co-founder Paul Thomson’s telling MARTYN WARE - NO ILLEGAL CONNECTIONS video walkthrough here: https://www.youtube.com/watch?v=LdmFXFj7GQw"
Note: links to listings are affiliate links for which the site may be compensated.
Published on Feb 11, 2013 AntiquityMusicLLC·13 videos
Stone Mountain Park Carillon-Mabel Sansing Sharp Carillonneur
Uploaded on Apr 4, 2010 stevethrasher·156 videos
"For over three decades carillonneur, Mabel Sansing Sharp has treated audiences to spectacular performances of the songs "Clare Delune", "Chattanooga Choo Choo", "Amazing Grace" and "Georgia" along with many other songs and hymns. A very special thank you to Ms. Mabel for all of the wonderful memories!
For those of you not familiar with the Stone Mountain Carillon, the instrument was built by Schulmerich Carillons in Sellersville, PA for the Coco-Cola Pavilion 1964 World's Fair in New York.
The 732-bell carillon is located lakeside in the heart of beautiful Stone Mountain Park, Georgia. This amazing bell tower structure provides daily concerts to those young and old for reflection and inspiration. The carillon is the heaviest of all musical instruments and probably one of the most interesting by design."
This one spotted by Evan of Antiquity Music, makers of The Wheel Harp. It appears to be electronic based as you can see from the pics.
"For your consideration is an extremely rare Schumerich Americana carillon, one of Schulmerich's flagship carillons from the 1960s. Most of these carillons have been destroyed or salvaged for their amplifier parts, and finding one of these very nice models is extremely unusual. Buying a new digital Schulmerich carillon costs over $35,000 today, but these analog carillons have an even more beautiful, breathtaking sound. This particular carillon came from Weber State University in Utah, and cost over $25,000 in the early 1960s, which equates to over $180,000 in today's dollars.
We have fully restored this carillon's wiring, adding connectors (DB25, XLR, RCA etc.), so that the carillon can easily be moved around (all Schulmerich Americana carillons were originally hard-wired on-site when installed, so when removed, over 400 individual cables had to be cut, making restoration extremely costly and time-consuming). This required soldering over 800 individual cables!!!!! The restoration work on this carillon has cost us over $4000 in technicians' time.
"Radioactive orchestra is a cross-boundary collaboration of nuclear physicists, a DJ and one media artist. The project wishes to inspire young people to learn about the natural sciences, but it also has an artistic aim to find new musically interesting patterns. By giving every radioactive isotop its own sound based on scientific algorithms they turn nuclear science into music, hence making a world available to us that our senses can not otherwise percieve."
Canadian twin brothers, Mark and Matt Thibideau developed a love for analog synthesizers at a young age. Collecting a staple of them mostly at unbeatable prices, their studio holds a variety of gear, each having it's own story. Both studied music in school but knew they wanted to approach music differently.
Of course these synths play a significant role in their own productions and the more portable ones make it into live performances. Take a look at their passion which just kept growing.
No live video this time to demonstrate my new sounds for the Quasimidi Sirius. Up to two Siriussessess - since three melody tracks isn't enough - and some full arrangements with drums and everything. All sounds are 100% Quasimidi Sirius. External effects: EQ, Multi-band compressor.
References: Demo No. 1: Stoneface & Terminal - Gallery Of Sound Demo No. 5: Marco Demark feat. Casey Barnes - Tiny Dancer (Deadmau5 Remix) Demo No. 7: Mark Pledger vs. Super8 & Tab - Worldwide Demo No. 8: Paul van Dyk feat. Adam Young - Eternity
All photos (c) Johannes Berthold. In case you want them, send me a note."
"The Model 266 series of programs features interviews with pioneering and contemporary musicians working with legendary Buchla synthesizers, as part of Source of Uncertainty. This segment features Buchla tech Mark Verbos.
Mark Verbos (NYC) is a music producer, mixer, and analog synthesizer technician. Heavily involved in electronic dance music, Mark's releases have spanned the genres of techno, rock, acid, house, pop, and electro. Mark has been involved with Buchla synthesizers since a young age, repairing modules under the technician and designer, Grant Richter. Since then he has become the go-to expert for Buchla repair and modifications. Although Mark performs on multiple Buchla machines, this performance will feature solely the 200 and 200e.
These programs are produced in relation to Source of Uncertainty, a pair of concerts organized by Harvestworks, ((audience)) and River-to-River Festival, taking place on June 28th, 2012 and July 7, 2012.
Model 266 is hosted by Alexis Bhagat and produced by Abby Echiverri."
Synths come in after the three minute mark. Cool miniature moog synth pillow. :) via motherboard.tv "It’s not everyday we get to (or want to) go to Cleveland, but when the opportunity came along to hang with one of the most exciting young synthesizer-based acts in the world, we put our snow boots on and headed (mid)west.
Emeralds, made up of Steve Hauschildt, Mark McGuire and John Elliot have only been sculpting their impossibly beautiful and impeccably crafted cosmic drift since 2006, yet have left a bevy of mind expanding, bone shaking cassettes, CD-R’s and LP’s in their wake.
With a rich history of rock’n roll and punk Cleveland might seem a curious place for these three cosmic crusaders to be busting out the synthesizers, but their surroundings are as important to their sound as the electronics themselves.
The guys took us around their studio, showed us the magic of the ‘Emerald Necklace’ and tried to out bowl us at down at the local lanes."
"Hi there. My name is Max Neutra. I am an artist in Los Angeles. Thanks for checking out the shop.
What we have here is a 10"x10" painting of a Mego Muson Synthesizer. In my opinion, this is the holy grail of vintage music toys. I was lucky enough to find one years ago before the ebay market seized up on these. You can physically rearrange the colored block in what I would call a sequencer, creating what the box says are "the strangest sounds in the galaxy".
This painting was originally created for a solo show / record release party in Hollywood. It sold, but in the end the buyer traded it back towards more expensive work. Now I offer it to you!
Before I started painting, I made electronic music for eight years. I was obsessed with obscure noise making devices and put together a hearty collection through ebay. Some of my pieces have even made it into the quintessential collection at miniorgan.com! I used these toys as well as other more professional devices to put together music that I considered funky electro ( Think Kraftwerk, Devo, Thomas Dolby, Yello, etc.). Suddenly painting took over about 5 years ago and the music making was put aside, but I recently made a final push and released my first album. Ten years in the making! The album is called Automation Addiction and can be purchased through itunes, amazon, beatport, etc.
Here is a list of equipment I used on the album:
Muson Synthesizer
Remco Sound fx machine
Bee Gees Rhythm Machine
General Electric Tote-a-tune
Texas Instruments Speak & Music
Mattel Electronic Connection
Panasonic r-1088
Tyco Hotkeyz
Waddingtons Compute-A-Tune
Science Fair Electronic Organ Kit
Synsonics drums
"This is a PCB to build the famous Gristleizer. Used by the industrial band Throbbing Gristle and many later experimental bands, the Gristleizer is a complex, but simple to build, effect.
It's a filter and a tremolo, controlled by an LFO, or low frequency oscillator. Here are some soundclips to help explain what it sounds like:
The board is carefully laid out to be easy to build. The part values are all listed on board, and there is an option to board-mount the pots. Included with the board is a wiring diagram for the off-board parts, as well as a bill of materials, and a set of build notes, instructions for tweaking and modding.
This is a bit more complex of a build than a fuzz pedal, so if you have never built any effects before, you may want to start with something a little simpler. Anyone with a little experience building effects should be able to build this fairly quickly and get great results."
Update: To be clear, the following videos are of the Smashing Guitars Gristleizer and not this DIY PCB. Results may vary.
Sold For: US $19.00
King Tut Plays the Gristleizer built by Endangered Audio
YouTube via keepyourkings
"The Gristleizer is born again! Made famous by Throbbing Gristle, raised on high again by Endangered Audio, a small, hand-built pedal company out of Asheville, North Carolina, The Gristleizer is the beastiest effects unit you've ever laid eyes on. Can also be used as a sound generator/synth of sorts, as you will see. For more info, go to: http://tinyurl.com/thegristleizerpres..." Be sure to seethis post on the history of the Gristleizer
"Hi guys, I'm not super-active on this forum, so please let me know if this is not where this belongs. I've designed a PCB for the infamous Gristleizer. This was designed in the 70s by Roy Gwinn and used most famously (and named by/for) the industrial band Throbbing Gristle. The circuit is an LFO with square, triangle, up ramp and down ramp waveforms, and a FET-controlled VCA and VCF. For the guitar guys I explain that more in depth but I assume you synth guys know what all of that is, right? The board is 3.3 x 2.1 inches (approx. 81 x 53 mm) and includes the option to board-mount pots. It includes a charge pump to derive -9v from a +9v supply. This is useful for building this as a tabletop or rack unit that will run off a standard single-sided 9v supply, but for modular use you can of course use your own bipolar supply. The board has been built and verified as working. I'm not positive how to estimate a difficulty rating for synth builders. It is a fairly small circuit, certainly in comparison to the gargantuan PCBs elsewhere on this forum, so it should be a quick and easy build. The board has black soldermask with white silkscreen, and all the parts and pads are labeled clearly on board. The boards are $12. Shipping within the US is $2 for one board and 50 cents for each additional board. Shipping to the UK and Europe is $4 for one board and 50 cents for each additional board. Other countries, contact me for a shipping quote. To order, send the total to taylorlivingston |at| yahoo |dot| com, and please indicate that it's for Gristleizer boards, how many, and your username at this forum. The wiring diagram with bill of materials and notes is here."
Update 12/10/2009: via Smashing Guitars in the comments:
"Hi this is Mark Boyd from Endangered Audio/King Tut/the video you have on your site. While we don't have any issue with you using our video to advertise your PCB, we would like you to make it clear that we a) your version likely sounds different than ours b) our PCB fixes the ticking problem without changing its sound c) our LFO has a wider speed sweep and the bias has a wider range as well. We have just dropped the price of our PCB and are working on a price for a full kit. http://www.smashingguitarsasheville.com That being said, in response to what has just been said in the comments, it sounds as if our PCB is less "modded" than this one as we did not change the LFO or the audio path. Also our version is the only one sanctioned by both Roy Gwinn and Throbbing Gristle. That being said, good luck with your builds! We don't want to cramp the DIY'ing out there in the least, we'd just like to make those important facts clear so the people who are going in for your PCB group buy know what they're getting into. Thanks, Mark any more questions email to endangeredaudio@gmail.com PS: that video isn't the greatest for getting the real sound of the Gristleizer by itself. check out these ones and let us know what you think!"
Gristleizer Stompbox With MicroKorg
YouTube via keepyourkings
"This is the official Gristleizer Stompbox demo from Endangered Audio. Based in Asheville, NC, Endangered Audio recreated an effect unit built by Roy Gwinn in the 70s and popularized by the band Throbbing Gristle. Here, Mark Boyd of King Tut runs the Gristleizer all sorts of ways through, around, and by a MicroKorg synthesizer. The three versions of the Gristleizer now available from Endangered audio include the stompbox, the tabletop, and the pc board. Go to http://smashingguitarsasheville.com/e... to check them out!"
The Gristleizer Guitar & Organ Demo by King Tut
"This is a demo song featuring the Gristleizer. The Gristleizer was designed by a young Roy Gwinn in the early 70s and popularized by the band Throbbing Gristle. This song by King Tut features the Gristleizer in many different ways. The only instruments not being run through the Gristleizer are the drums and bass. The Gristleizer is 100% analog, hand-built, and made in America."
"FAEMI-1M is a compact polyphonic analog synthesizer produced by Katchkanar radio equipment factory "Formanta", which is the manufacturer of such well-known makes of synthesizers as Polivoks, Formanta, Manual, Maestro etc. Faemi-1M is a "young brother" of a very popular synthesizer Polivoks. It bears the same logo on the package and retains some of its most impressive capabilities, for example the powerful resonance filter, which, by expert estimation, outperforms the famous Minimoog! The handy keyboard of the synthesizer has also remained unchanged. But unlike Polivoks, this synthesizer is entirely polyphonic (a so called "organ-synthesizer"), which makes it possible to merge several timbres with the addition of a timbre passed through the filter.
Faemi–1M is housed in a compact metal body with plastic sides. It has a 4-octave keyboard (from F to E; or from "Fa" to "Mi" in Russian; their combination gives "FaeMi"). Parameter control is performed with handy knob regulators graduated from 1 to 10. The synthesizer consists of four main sections: OSCILLATOR, TIMBRE, FILTER and AMPLIFIER. The units involved in the process of synthesis are 1 VCO, 1 LFO, the lowpass filter with ADSR and VCA.
The OSCILLATOR section provides the following functions: RELEASE, FINE TUNING, GLISSANDO. The TIMBRE section (waveshape select) has four timbre volume controls – PIANO, STRING, CLAVECIN, and BRASS.
The VIBRATO(LFO) group includes the controls of vibrato RATE, vibrato DEPTH and time of vibrato DELAY. The vibrato RATE parameter is controlled by red-light indicator.
The FILTER section includes the envelope group: ATTACK, DECAY, SUSTAIN, RELEASE. The parameters of the filter are CUTOFF, RESONANCE, and FILTER MODULATION. The device has a red button which passes the BRASS timbre immediately through the filter (for the other timbres it is impossible).
Section AMPLIFIER include only a one control regulators - for global VOLUME.
On the front connection panel, the following connectors are situated: PEDAL input for filter control, PHONE, main OUTPUT and input for SUSTAIN pedal. All connectors are constructed in standard 5-din plugs. Next the POWER connector, power ON/OFF, the FUSE are situated.
The synthesizer bears a factory serial number, the year of manufacture, and the price in Soviet roubles (in 1982, 450 roubles were equal to 600 USD). An important feature of the device is to be noted: it bears the Soviet "Quality Mark", which means that the device falls under the highest quality category.
Specifications:
— Polyphonic hybrid synthesizer with four independent channels of sound - piano, string, clave, brass.
— 1 dual mode "Polyvox-like" VCF (brass/filter) , freq/res/mod controls, with screaming resonance.
— Pitch modulator (Vibrato) with freq/depth/delay control.
— 1 ADSR envelope generator.
— Oscillator's release control.
— Glissando.
— Audio and phone outputs.
— Dumper and pedal inputs.
— 220 Volt main.
— Dimensions: 72/33/14 cm, weight: about 21 lbs (10 kg)."
Not the best images via this CL post, but I thought it would be worth capturing for the description as well.
"Raagini Digital today is the preferred electronic tanpura of hindustani & carnatic musicians young & old, artists & students alike. Raagini Digital Tanpura delivers a real unmatched tanpura sound which has become a bench mark in the music world. It has a stable digitally tuned pitch covering more than an octave. It comes with a dual power mode, battery mode & an inbuilt battery charger. Capable of playing in both hindustani & carnatic style, this electronic tanpura is light weight & compact. Its an acknowledged fact the Raagini Digital helps improve the mood & scope of practice & performance of music vastly." via Roberto. Also see these Tabla posts.
"Here is the INSANELY rare [gold color] Latronic Notron Mk1 MIDI Step Sequencer. This is a truly fantastic piece of equipment that holds a unique place in the serious electronic musician arsenal. Much more than a standard MIDI controller or software sequencer, this is a living instrument that can be found in the recordings and live set-ups of such luminaries as Bjork, The Orb, Goldie, Claude Young, Paula Temple, etc. It is a certified Techno, D&B, Electronica classic.
This is the original, ultra-rare version 1. There are only about 100 of these in existence, many in the hands of famous musicians. Despite being produced int he late 90's there are still unique features on this sequencer not found anywhere else (not even on the Genoqs Octopus or the Sequentix P3). My favorites are the cumulative transpose and supersteps."
"The Notron is a British-designed MIDI step sequencer used by Björk, Howie B etc. Produced in two models, the Mark 1 was available between 1996 and May 1998. The Mark 2 was a slim blue box produced until about 2001. About 100 Mark 1 units were sold and a similar number of Mark 2s. The Notron is no longer produced.
It was developed by Gerard Campbell and the software was written by Dave Spowage of Concourse Systems (UK). It was sold under the company name Latronic. In 1999 it won a Millennium Award from the Design Council and was exhibited at the Millennium Dome during 2000. For some time the Notron was on display in the London Science Museum.
In the words of Paul Nagle from his Sound On Sound (June 1997) review: 'Is it a hi-tech bathroom scale? Is it a 21st-century computer game? Is it Darth Vader's toilet seat? No, it's an innovative LED-laden MIDI step sequencer, with the power to wring new life from your old synths'."
