We have officially sold half of our limited edition CD; we are also going to end our introductory 'Name Your Price' for downloads on BandCamp soon, so don't hesitate to purchase today!
Praise from BandCamp (Alan R Pearlman Foundation and Projekt Records )
"A tribute to the creator of my favorite music instruments. I Like the sound of the ARPs in classical electronic albums. Great record with many great contributions!"
"No favourite track, just indulging in the sonic wash of this amazing album. Just wonderful."
"...what an AMAZING collection!! ..."
"A ritual offering—ARP as oracle, muse, and monument. The machine has a soul. And here, it sings."
"It's hard to pick a favorite track off of this compilation... Lots of groovy music by a lot of artists.I had never heard of, but there are a few artists.I am familiar with. this is pretty groovy stuff... "
"Awesome tribute and collection. Mr. Roach has somehow found time to be an archivist. would love a second volume. get this as both sampler and tribute..."
Purchase from BandCamp
"Torso Electronics presents a new series of live sessions recorded at our office space in Copenhagen.
The first episode features IDRA, guiding us through ambient textures and cinematic explorations, blending noise and melodic collages. Performed on the S4 sculpting sampler and the OP-1.
Enjoy
About IDRA
IDRA , Francesca Pavesi, is a musician, producer, and sound artist from Milan. Her work explores the intersection of ambient and experimental electronic music, where organic textures, modular synthesis, and acoustic elements merge into immersive sonic worlds. Guided by attentive listening, she uses sound as an introspective space for deep, focused listening and a sense of timelessness.
See more at
https://www.idrasound.com/
https://torsoelectronics.com/
/ torsoelectronics
"Meet Kira Sassano! Kira does shipping and social media at 4ms. She is also an electronic musician and fiber artist. You can listen to her music at cavecricket.bandcamp.com and view her fiber art shop at Etsy.com/shop/fiberbeing"
Auction to be held at Musician's Hall of Fame & Museum, Nashville, on November 19
An incredible collection of more than 450 artifacts from the life and career of Florian Schneider, co-founder of the pioneer electronic band Kraftwerk."
Pics and videos featuring some of the gear below, and his Lederhosen for good measure (thanks greg!).
Update: the post has been fully updated with all the synth related gear. This may just well be the longest post to be featured on the site. I wanted to capture all the pics for all of the details including notes, scuffs, and of course serial numbers. It's an interesting look into what he used, the condition he keped his gear, in some cases, how he actually used his gear. Note the phonetics on the keys of the Casio CZ-101 and DX-100. Note the Midi Switch Box with a built-in speaker? What's that about? Note the camouflage key strap on the Korg RK-100 Remote Keyboard. Did he pick it out himself or did the keytar just come with it? Note the repeat midi controllers and the MIDI saxaphones. Wind was his primary instrument. You'll find a ton of the acoustic gear he used in the other listings. This is a fascinating insight into both what and how he used his gear.
Side note: there is no affiliate compensation for this post. The note at the top automatically shows for all posts with the Auction label.
Rack Mount Sennheiser VSM-201 Vocoder
Starting Bid
$5,000
Estimate
$20,000 - $40,000 USD
A late 1970s Sennheiser VSM 201 Vocoder with no serial number from the personal studio and collection of Florian Schneider of Kraftwerk (see images). While it’s said that only a few dozen of these Vocoders were produced, a few examples made it into the hands of forward-thinking musical artists including Herbie Hancock, Daft Punk, and of course, Kraftwerk, who used a VSM-201 like this on their albums Man Machine (1978) and Computerworld (1981). The VSM-201 has an intelligible sound that has not yet been bested by modern gear. Includes power cable. This VSM-201 has been removed from its wooden enclosure (which bears the serial number plate) and modified with a metal rack mount casing, presumably for live use. Requires 240v, IEC power cable not included.
Dimensions: 19 x 9 x 9 inches
Category: Kraftwerk, Equipment
Provenance: PROVENANCE From the Estate of Florian Schneider
Kingston, NY— In 2025, the Alan R. Pearlman Foundation celebrates the centennial of its namesake, the electronic visionary whose marvelous ARP synthesizers changed the landscape of music forever. As part of the ongoing celebrations, the Foundation is announcing the release of Soul Of The Machine, a 36-track musical celebration of the man and his creations as interpreted by a diverse range of recording artists.
Soul Of The Machine is a 36-track collection of tracks old and new, covering everything from innovative electronic, dance, and space music to jazz, funk, and Latin pop, all featuring the signature sounds of classic ARP instruments. The collection includes everything from ARP’s first synthesizer — the massively powerful ARP 2500 modular system — to the instruments that rewrote the rules on how electronics and music came together. The 2600, Odyssey, Pro Soloist, Omni, and many more ARP instruments sing, cry, scream, and soar, in the hands of musical talents both legends and newcomers.
Soul Of The Machine is a treasure trove of musical exploration. Martin Gore’s “KIno" combines Depeche Mode’s signature rhythmic power with a uniquely lyrical and sweet atmosphere. “Mr. No” is a celebration of the classic proto-techno sound of John Foxx. Award-winning soundtrack composer Mark Isham showcases his signature pulsating energy and evocative moodscapes in the mini-suite “Musings – in Two Parts”. Lisa Bella Donna takes listeners on a journey into timeless wonder in the epic “Conclusions.” JG Thirlwell’s “Sphere” is a synth freakout ricocheting between ominous sci-fi atmospheres and searing beats. Panic Girl offers "Drifting Whispers," a somber and uplifting neo-retro journey into a past that never was.
Other artists on the collection include Michael Brückner, Phil Cirocco, Rupert Greenall, LaMar "Kronick" Mitchell, Jeff Rona, Drew Schlesinger & David Torn, Don Slepian, and many others, as well as tracks by the collection's curators Steve Roach and Chris Meyer of Alias Zone.
Famed ambient / electronic pioneer and ARP user since 1978, Steve Roach shares his thoughts on Soul Of The Machine: "In 2024 I had the honor of meeting Dina Pearlman-Ifil — the director of the Alan R Pearlman Foundation — in person. Over the course of several phone conversations we discussed ways to celebrate the centennial year of her father's life and his place in history. My idea for a compilation of music using her father’s creations grew out of those conversations, presenting a perfect way to directly experience the vast range of music that was birthed by the family of ARP synthesizers. This compilation is just a small taste of the universe Alan inspired in sound explorers and artists across a vast range of genres."
Steve mapped out the music so that CD 1 represents a sonic journey and CD 2 provides a showcase of the depth and breadth of what ARP synths can do. After both CDs were finalized, there were more tracks than room on the CDs. These additional songs are available as a bonus digital supplement to the physical CD set.
Says Dina Pearlman-Ifil: “I have long-dreamed of a multi-genre collection that would illustrate the depth and breadth of the possibilities of my father's instruments. This collection is the embodiment of what my father treasured most: The creative spirit. As the old ARP tagline used to say: ‘The most creative part of an ARP Synthesizer is you.’”
The Alan R. Pearlman Foundation is dedicated to the empowerment of young and burgeoning artists into the future. When we look at classical instruments born hundreds of years ago, we see that Alan Pearlman's synthesizers stand tall, earning their place in the evolution of musical history. Acoustic or electric, their common ground is the enduring inspiration for creativity and sonic innovation that inspires the hearts and minds of musicians, performers, and sound explorers worldwide.
Soul Of The Machine will be available for streaming on October 17, 2025. The special limited edition CD will be available for purchase in early-to-mid-November.
Proceeds go the Alan R. Pearlman Foundation
The Alan R. Pearlman Foundation is a 501(c)(3) not-for-profit organization. Our mission is to celebrate the legacy of inventor, musician, entrepreneur and engineer Alan R. Pearlman, by making his innovative inventions publicly accessible, and by inspiring future generations to imagine and create.
ARP Centennial Compilation Concept: Steve Roach Project Directors: Steve Roach, Chris Meyer, and Dina Pearlman-Ifil Mastered by: Robert Rich
Cover concept and design by Dina Pearlman-Ifil, production by Sharon Wasko
This compilation wouldn't be possible without the support of our incredible sponsors: Cherry Audio, Korg USA, Moog Music and Steve Roach. Also HUGE thanks to Chris Meyer / Alias Zone, Mark Marshall / interage.com for all things web, Dr. Mike Metlay/ atomicwords.net for creative input on the liner notes, and Sam Rosenthal / Projekt Records.
"Immerse yourself in a world of serene beauty and vast, open spaces. 'Ambient Landscapes' is a meticulously crafted collection of 50 exclusive presets for Synapse Audio Dune 3, designed to transport you to ethereal plains, misty forests, and tranquil shores. Let your music become the soundtrack to unexplored territories and inner reflection!
Expertly designed by OttO K. Schwarz, this soundset leverages the immense power of Dune 3’s dual-layer engine and deep modulation matrix to create sounds that are not just heard, but felt. From the gentle caress of a morning breeze to the profound silence of a mountain peak, every preset tells a story.
Every preset is velocity, modulation wheel & expression assigned, allowing you to shape and play the sounds as they evolve. This soundset is perfect for the film, TV & game composers, ambient & electronic music producers, sound designers and any musician looking to add a layer of profound depth and emotion to their work.
Ambient Landscapes doesn't just fill space—it defines it. Let these sounds be the canvas for your most evocative and personal creations!
Intuitive Instruments improves Exquis MPE controller with firmware 2.2.0 update alongside Ableton Live, Bitwig Studio, and Cockos Reaper workflow-merging scripts
SAINT-CYPRIEN, FRANCE: Intuitive Instruments is proud to announce improvements to the award-winning Exquis MPE (MIDI Polyphonic Expression) controller with major updates coming courtesy of introducing firmware 2.2.0 alongside software scripts to merge its workflow with Ableton Live, Bitwig Studio, and Cockos Reaper DAWs (Digital Audio Workstations) — wholeheartedly representing several simultaneous steps towards the inspirational solutions for music lovers creator’s goal of ultimately making music-making seamless by turning the flagship instrument itself into the ultimate lightweight and compact creative hub — as of September 8…
Exquis enables seamless and natural interaction with all DAW software, MIDI synthesizers, and modular systems by becoming a direct extension of its user’s creativity as an expressive and intuitive MPE controller comprising a hexagonal matrix of 61 backlit soft silicon keys arranged as consecutive notes (semitones) horizontally and harmonious notes (thirds) vertically — from the lowest at the bottom to the highest at the top — that provide independent gestural control over four different dimensions: velocity (strike force), horizontal tilt (X axis — pitch bend), vertical tilt (Y axis — CC#74), and pressure (Z axis — channel pressure or polyphonic aftertouch). Alongside a namesake companion app — itself optionally offering an experience akin to traditional composition software — available on macOS and Windows with support for VST, VST3, and AUv3 audio plug-in formats, Intuitive Instruments’ flagship instrument is intended to provide musicians of all levels with a fun and intuitive way of creating melodies and progressions, fully exploiting sonic potential in the process of doing so — whether working with third-party software over the USB (Type-C) connection, third-party software or hardware synthesizers through the MIDI IN and OUT (minijack) connections, and modular synthesizers via CV (control voltage) with dedicated 0-5V (minijack) connections for GATE (V-Trigger), PITCH (V/Oct), and MOD (pressure or velocity). These top out a lightweight (600g) and compact — 36 mm (H) x 146 mm (W) x 317 mm (D) — desktop design that also incorporates four rotary/push encoders and a six-zone capacitive touch slider, plus a series of selection, undo/redo, and action buttons, providing precise and intuitive control collectively over any user’s sound while enhancing interaction with the app.
"Instruo Residency Sessions Presents - 'etre une machine' by Milochka (aka Mila Fossey)
Milochka is a 20 year-old sonic artist from France and Romania. She is a musician, songwriter, producer, and performer currently studying Electronic Production and Design at Berklee College of Music. Having grown up in China, Canada, France, and Belgium, she has been musically influenced by the environments surrounding her and is developing her own sound through her experimental vocal and instrumental style. Music is the translation of fusion between her ideas and inspirations into magnificent prototypes. She has been showcasing her original work for over 12 years through different creative communities and has been creating electronic modular pieces at Instruo Modular as an artist in residence.
With experience as a songwriter in folk, pop, electronic, and experimental music, and playing over 4 instruments, she also creates sound art pieces for contemporary art installations.
Music is the translation of her soul.
"On first pass, this 4k video of a Northern Waterfowl preserve (Coyote Hills Nature Preserve in San Leandro, to be exact) might come off as being pretty static. However, watch closely and you'll see a fantastic variety of animal life. Duck formations, White Swans, varieties of birds arcing in and out. Dragonflies will also make appearances, as well as other insects. All happening while the sun slowly moves up into the afternoon sky. It's pretty exciting to set up a camera and have it actually record for a solid hour without something affecting it. GoPros are famous for overheating, but I was lucky to get to 60 minutes before it shut down on me.
Villa Galaxia is a special album to me. Written in 2008, and released on Hypnos Binary as a CD, It was one of the few albums that I had funds to master. I somehow found a technician/musician named Jeff Bowron in Oakland, and after a brief email exchange, he invited me over to master the album with him. To keep the price down, we opted for me to actually haul my large CPU tower over and work directly in my files. We ended up really hitting it off that night. He kept remarking about how unusual yet listenable Villa Galaxia was. He was a great guy who had an excellent ear for music. He had at least 5 different sets of speakers, with the final ones being huge rave-sized speakers. I remember him tuning the base levels and hearing the base drum go from very "flabby" to all of a sudden, precision. His final tweaks really changed the dynamics and feel of Villa Galaxia. A year or so ago, I learned that Jeff had passed away in 2018.
I hope you enjoy Villa Galaxia with this accompanying 4k Nature Preserve video.
Thank you,
Saul
00:00- Intro / Hello Radar
05:30- Vapor Trails
12:43- Blaze
18:56- Night Painting
24:05- Eta Car is a Massive Star
31:21- Future Gamma
36:29- Embedded in Amber
42:15- Interrupted by Time
48:37- End"
"Rare 1986 Casio SK-100 8-bit sampling keyboard custom modified with a 25 point modulation patch bay and pitch control section mounted on a metallic graphite externally attached console with a unique solid aluminium 1970s Hitachi 'wedge' knob. This is a weird, unpredictable, lo-fi and chaotic sampling instrument with a warm gritty sound which will inspire any alternative electronic musician and sound designer.
When the patch matrix is in use an array of warped effects, drones and loops can be generated; applying multiple connections produces an increasingly complex range of cyclic, pitch dropped, fractured, tonal, bit crushed, flanged, distorted, aliasing digital noise and bizarre sequences which affect any sound you record using the sampling feature. The pitch mod takes the sound up in pitch and down to crushing aliasing lows, also affecting the SK 100's pre-set sounds. Five stackable patch cables included.
Specs: -25 point ROM modulation patch bay -Pitch control function -5 different dynamic envelopes can be applied to your samples (a long and short sample can be recorded and stored). -Loop and reverse effects. -The samples can be featured in the tempo adjustable onboard rhythm sequences. -12 preset sounds -12 preset rhythms -Chord memory -7 keyboard-based drum sounds"
"Crumar Spirit by Cherry Audio captures the unique sound and features of the exceptional analog monosynth from 1983, originally designed by some of the most legendary figures in the synth industry. Spirit is a gateway to sonic experimentation. It is not a polite instrument. Nor is it clean, safe, or obvious. However, twist a few knobs and it will reward you with some of the most colorful sounds you have ever heard from a virtual analog software synthesizer.
"100 additional presets for Cherry Audio's Crumar Spirit synthesizer by James Dyson that showcase its darker and more atmospheric side in nine categories. Explore more advanced modulations, integrated effects, rhythmic arpeggios, and aftertouch performance features.
"We are proud to preset the new Crumar Spirit by Cherry Audio, a meticulous software recreation of the unique, quirky and elusive Crumar Spirit analog synthesizer from the early 1980s. This is a two-part series. In Part 1 we go over most of the original-instrument features (minus the arpeggiator).
Part 2, covering the remaining features and exploring factory presets, will be released soon.
00:00 Introduction
00:34 A brief history
01:54 Overview of Crumar Spirit by Cherry Audio
02:35 Oscillators
09:59 Upper filter
12:41 Lower filter
20:02 Noise generator
23:43 Shaper Y (and Shaper Y audio path)
33:24 Mod X
41:24 Conclusion"
Crumar Spirit by Cherry Audio is a meticulously crafted virtual recreation that captures the unique and captivating features of the exceptional analog monosynth from 1983, originally designed by some of the most legendary figures in the synth industry. In collaboration with Crumar, we have reopened a time capsule to revive this Italian cult classic and thoughtfully elevated it with Cherry Audio's signature style.
Spirit is a gateway to sonic experimentation, whether you are after wild, unpredictable timbres or warm, analog tones. It is not a polite instrument. Nor is it clean, safe, or obvious. However, twist a few knobs and it will reward you with some of the most colorful sounds you have ever heard from a virtual analog software synthesizer.
Crumar Spirit includes over 430 sensational presets in 12 categories
Producers will find immediate inspiration in Spirit's extensive preset library, created by a talented sound design team led by veteran sound designer James Terris. And don't miss the Spectres for Spirt Preset Pack (sold separately), featuring an additional 100 additional presets by James Dyson.
A "Little Synth" Designed by Legends
Crumar S.P.A., based in Castelfidardo, Italy, was a notable player in the 1970s musical instrument industry, specializing in home organs, digital pianos, and multi-sound keyboards, and with a significant focus on the U.S. market. Sante Crucianelli, the son of the owner, became the driving force behind Crumar's design and strategies. Crumar became known for its open lab culture, frequently allowing competitors to test instruments, a rare practice for the time. Another key figure during this period was Luciano Jura, a designer, musician, and programmer. Luciano became crucial as Crumar's point of contact with synth pioneer Bob Moog, which led to a collaboration that resulted in the creation of Crumar's Spirit synthesizer.
Although many details have been lost due to the passing of key figures and the closure of Crumar, the development of the Spirit synthesizer in the U.S. is well documented. Key contributors to the project, codenamed "Little Synth," included Moog engineer Jim Scott, Moog clinician and electronic music historian Tom Rhea, and Bob Moog himself. The project likely began around 1980 or 1981, and incorporated elements from earlier projects by Scott and Moog. Rhea played an essential role in defining the Spirit's key features, such as the keyboard scanning setup, panel layout, functional architecture, and technical documentation. The Crumar Spirit went into production and was released in late 1983.
"According to information that is actively circulating and being replicated on the Internet, the RITM-2 synthesizer was created in 1982 by Viktor Anatolyevich Nikulin, an engineer at the Kirov Musical Instruments Factory, at the request of a musician friend.
The device was well-received by the company's management, and in 1984, it was put into mass production, which continued for 10 years. During this time, the instrument's design underwent three further improvements. It was the only Soviet synthesizer where all components and controls were housed on a single printed circuit board.
Functionally, it consists of one tone generator, a noise generator, a sound signal mixer (triangle, saw, rectangle, noise), a low-pass filter, two full-format envelope generators (attack, decay, sustain, aftertouch), and a low-frequency modulation generator. It is a portable keyboard instrument weighing approximately 9 kg, housed in a plywood case with a lid.
The front panel had two versions: black and white. The main feature of the instrument, which determined its character, long life, and fame in the professional environment, was its unique and harsh sound.
The production capabilities of the enterprise were quite modest, and only about three thousand instruments were produced over the course of 10 years. RITM-2 was produced exclusively on orders from the administrations of houses and palaces of culture, as well as from leading communist enterprises that had their own musical groups.
During the Soviet period, it was impossible to purchase a rare instrument on the open market, and the RITM-2 was not widely known among musicians who were not affiliated with amateur groups. It was not until after 1993, when the Soviet government's support for amateur music, along with the cultural palaces and the Soviet government itself, ceased to exist, that the RITM-2 synthesizer began to find its way into the hands of professional musicians both in Russia and abroad.
The electronic musical synthesizer Rhythm-2 is a single-voice keyboard instrument designed for solo, ensemble, orchestral performance of musical works of various genres, as well as for educational purposes and obtaining new sound effects. It can be used both in pop orchestras and at home in conjunction with an amplifier-acoustic device having an input sensitivity of no worse than 0.775. It is possible to use a low-frequency amplifier of a radio receiver, TV, tape recorder. The sound quality of the synthesizer will depend on the quality of the amplifier-acoustic device used. On the Rhythm-2 synthesizer, it is possible to imitate the sound of classical musical instruments (keyboard, string, reed, percussion) with a certain degree of authenticity and create original sound effects (wind noise, the sound of a passing train, the sound of a sea wave, a shot and the whistle of a bullet).
The synthesizer can be used to play melodies with randomly changing pitch or timbre."
ARP: The Innovator, The Instruments, The Impact Opening August 9
We invite you to step into the world of innovation with our new exhibition "ARP: The Innovator, The Instruments, The Impact." The impact of ARP synthesizers and the legacy of their innovator Alan R. Pearlman (1925-2019) was vast and deeply influential. From progressive rock and jazz to pop, film, and experimental music, ARP instruments helped shape the sound of a generation and inspired countless artists.
Curated by Brian Kehew, the exhibition brings together a stunning array of instruments, vintage media, and behind-the-scenes insights.
Guest Curator: Brian Kehew
Brian Kehew is a Los Angeles-based producer, engineer, and co-author of Recording The Beatles. Kehew’s deep expertise as a synthesizer programmer and performer with artists such as The Who and The Moog Cookbook brings a uniquely informed perspective to this presentation.
Exhibition Events Day 1: Opening Reception and Concert Celebration Saturday, August 9 @ 6 pm Join guest curator Brian Kehew and Dina Pearlman-Ifil, daughter of Alan R. Pearlman, for an in-depth look at the exhibition. Stay for special performances by renowned synth artists Rupert Greenall, Robin Hatch, and Steve McQuarry. This event is free for museum members, and $30 for non-members.
"Bring your sounds to life with the MEMLNaut, the first neural symbiotic controller for synths and effects: discover new sounds instantly, live, with any rig."
"MEMLNaut is a musical instrument and research platform for exploration of musically embodied machine learning. It can process and generate sound, it’s extensible with a wide range of IO and interfaces, and it can optimise and run machine learning models on it’s dual core microcontroller chip.
MEMLNAut is open source, you can find all the Kicad files on our github"
"MEML is funded by the UK Arts and Humanities Research Council. It is an investigation into the musically expressive potential of machine learning (ML) when embodied within physical musical instruments. It proposes ‘tuneable ML’, a novel approach to exploring the musicality of ML models, when they can be adjusted, personalised and remade, using the instrument as the interface.
ML has been highly successful in allowing us to build novel creative tools for musicians. For example, generative models that bring new approaches to sound design, or models that allow musicians to build complex, nuanced mappings with musical gestures. These instruments offer new forms of creative expression, because they are configurable in intuitive ways using data that can be created by musicians. They can also offer new modes of control, with techniques such as latent space manipulation. Currently, to train a ML model, standard practice is to collect data (e.g sound or sensor data), create and pre-test the model within a data science environment, before testing it with the instrument. This distributed approach creates a disconnection between the instrument and the machine learning processes. With ML embodied within an instrument, musicians will be able to take a more creative and intuitive approach to making and tuning models, that will also be more inclusive to those without expertise in ML. Musicians can get the most value from ML if the whole process of machine learning is accessible; there are many creative possibilities in the training and tuning of models, so it’s valuable if the musician can have access to the curation of data, curation of models, and to methods for ongoing retuning of models over their lifetime.
We have reached the point where ML technology will run on lightweight embedded hardware at rates sufficient for audio and sensor processing. This opens up innumerable additions to our electronic, digital, and hybrid augmented acoustic instruments. Our instruments will contain lightweight embedded computers with ML models that shape key elements of the instruments behaviour, for example sound modification or gesture processing, responding to sensory input player and/or environment. This project will demonstrate how Tuneable ML creates novel musical possibilities, as it allows to create self-contained instruments, that can evolve independently from the complex data science tools conventionally used for ML.
The project asks how instruments can be designed to make effective and musical use of embedded ML processes, and questions the implications for instrument designers and musicians when tunable processes are a fundamental driver of an instrument’s musical feel and musical behaviour."
"Electronic musician @rimela shows just how far you can take MIDI on a Yamaha CS-80. I reached out to him, and he generously shared the original tracks so we could take a closer look at the possibilities. In the end, I couldn’t resist adding a little improv of my own to his fantastic tune. Don't forget to check out his original! • Yamaha CS-80 [posted here] - and also check this video bij Mark Cox: • YAMAHA CS-80 Ultimate Upgrade - A Dream co..." [posted here]
"ALAN R. PEARLMAN FOUNDATION ANNOUNCES WEST COAST CELEBRATION OF THE CENTENNIAL BIRTHDAY OF ARP SYNTHESIZER FOUNDER, ALAN R. PEARLMAN, AUGUST 9 & 10 AT THE NAMM MUSEUM OF MAKING MUSIC Kingston, NY - July 10, 2025 - This year marks the 100th birthday of the late inventor of the ARP synthesizer, Alan R. Pearlman. In honor of his pioneering innovations in electronic music, the Alan R. Pearlman Foundation is collaborating with NAMM Museum of Making Music for an exhibit: ARP: The Innovator, The Instruments, The Impact.
"The Crow Hill Company creates POCKET STRINGS as no-barrier-to-entry-styled string library plug-in produced without compromise… with added ‘synthy spice’
EDINBURGH, UK: having recently rebranded itself with an aesthetic that truly realises company co-founder and composer Christian Henson’s heartfelt dream of encouraging people to make music and help them on their journey, regardless of whatever point they were at and wherever their journey began, The Crow Hill Company continues its journeying into ‘Season Two’ as a producer of resources and tools to protect, inspire, support, and provide opportunities for music-makers the world over, believing that music is, and should remain, a wholly human experience, one that is by far one of the most powerful forms of expression, escape, comfort, and remembrance, of which its newly-created POCKET STRINGS — styled as a definitive string library plug-in that opens the doors to collaboration between anyone anywhere, creatively combining live cinematic orchestral recordings with some rarefied vintage synth classics made to measure for added body, depth, and character — readily represents the cornerstone of this ethos, as of July 10…
“A string library that’s accessible to all without compromise — a distillation of the last 25, nearly 30, years that I’ve been working as a media composer, which means that I write music for film, TV, and computer games, giving you the very basic necessities to write pro-end string arrangements. Whether that be adding to productions, songs, collaborating with others, or, indeed, creating professional film scores — whether that be to demo for an orchestra to play, or, indeed, to go to broadcast, there’s been no compromises here. But accessibility is the key — not just with the price point, but with usability.” So says Christian Henson himself, perfectly positioned — as The Crow Hill Company’s original founder, forging forward by building upon his extensive experience gained from founding Spitfire Audio to originally offer a palette of sounds he had created for his own use as a professional composer to his film world colleagues by invitation only, though the rest, as they say, is history — to proudly introduce POCKET STRINGS as a never-tried-before strings library plug-in that aims to bring broadcast-grade string possibilities to everyone.
"In an impromptu chat, Tom Oberheim tells Sam Inglis about his early years as an engineer and his accidental route into creating electronic musical instruments. As he celebrates his 50th year since the launch of the SEM, Tom talks about the rise of digital, the resurgence of analogue and the launch of the new TEO-5.
Chapters 00:00 - Introduction 00:26 - An Accidental Engineer 02:46 - Building For Musicians 06:34 - Becoming a Distributor For The ARP 2600 11:05 - Designing The SEM 12:43 - The Filter Design 15:03 - The OB-1 And Patch Memories 16:36 - OB-X - Polyphony And Programmable Presets 19:35 - The Oberheim Sound 22:37 - The Digital Takeover 24:40 - The Resurgence Of Analogue 28:01 - Launching The OB-X8 With Focusrite 29:23 - The Oberheim TEO-5 30:37 - Utilising New Technology
Oberheim Biog Oberheim is the 21st century return of the legendary company that helped fuel the original electronic music revolution in the 1970s. Now, just as then, Oberheim is guided by the vision of engineer and inventor, Tom Oberheim. Tom’s genius for innovation introduced the world to the first commercially available poly synth and other groundbreaking electronic instruments that literally changed the sound of music.
Today, Oberheim reawakens this extraordinary legacy by bringing the famed Oberheim sound to a new generation of instruments and artists. The company’s passion remains unchanged by time or technology — to once again provide the world with the finest-sounding analog synthesizers ever made.
Sam Inglis Biog Editor In Chief Sam Inglis has been with Sound On Sound for more than 20 years. He is a recording engineer, producer, songwriter and folk musician who studies the traditional songs of England and Scotland, and the author of Neil Young's Harvest (Bloomsbury, 2003) and Teach Yourself Songwriting (Hodder, 2006).
About The SOS Electronic Music Podcast Channel On this channel we feature some of the pioneers of the industry, interview musicians and talk about retro and current gear."
The Seventh Wave Festival of Electronic Music: Number Sixteen
Music festival delivers one of its best line-ups yet!
Edition 16 of an Electronic Music Festival established in 2016 takes place in Birmingham in October of this year.
In October 2025 the sixteenth ‘The Seventh Wave Festival of Electronic Music’ takes place across three days at The Castle and Falcon.
For a relatively small festival The Seventh Wave continues to get some of the biggest names in electronic and progressive music.
The stellar line-up for #16 includes Plaid, Ultramarine, Richard Norris (The Grid), Mark Van Hoen/Locust, White Noise (featuring the legendary David Vorhaus) & much more.
Tickets can be purchased for individual events at Skiddle and SEE tickets.
"This book is a must-have for anyone interested in electronic music or repairing synthesizers. It provides detailed information on troubleshooting and repairing various models of synthesizers. The author, Delton T. Horn, has years of experience in this field and shares his knowledge in a clear and concise manner. The book covers a wide range of topics, including repairing analog and digital synthesizers, troubleshooting common problems, and maintaining your synthesizer to prevent future issues. Whether you are a musician or a repair technician, this book is a valuable resource for anyone looking to get the most out of their synthesizer."
