1. Bristronica 24: MyVolts The Silent Alchemist Nears Shipping
We caught up with Caroline who gave us the latest update to the *Silent Alchemist*, a versatile power hub designed for musicians. Featuring five isolated USB-C outputs and a high-wattage sixth output capable of delivering 100 watts, the device can power a Mac with the remaining outputs providing 20 watts each. Its independent circuits ensure noise-free operation, catering to a variety of devices including the Dreadbox module and Sysmo slope generator.
The Silent Alchemist uses innovative step-up power tips to convert USB-C input to the correct voltage for various devices. There's also new feature: an uninterruptible power supply allowing seamless transition between wall and power bank sources. Also introduced were updated cables, such as silver candy cords and floating ring TRS to TS cables, expanding connection flexibility. The Silent Alchemist is expected to be available in December with a competitive pricing strategy.
At Bristronica 2024, we caught up with the creator of the *ML2M*, who introduced us to the latest version. The ML2M is a compact Eurorack module with Wi-Fi capabilities, allowing seamless synchronization with Ableton Live, Bitwig Studio, and iOS music apps using Ableton Link without the need for cables. It either connects to an existing network or creates its own, ensuring robust sync even in environments with unreliable Wi-Fi. The module, which retains its 2HP size, now features MIDI integration through TRS jacks. Users can access a web interface to configure each output for different clock divisions and reset triggers, making setup straightforward and flexible.
Alongside the ML2M, there's also the Missing Link Junior. This desktop version offers the same functionality but in a box format, complete with MIDI and CV clock outputs. Both products are now accessible, with a starting price of $250.
At Machina Bristronica 2024, we caught up with Arran from @archaea_modular_synthesis who presented the *Exchange Module*. This programmable patcher, a year in the making, evolved from its early prototype stage to a fully functional module. Arran explained how the Exchange can route synth voices via a beam controller and three exchange modules installed within the skiff, allowing for versatile patching. Operating like a matrix patchbay, it enables users to select inputs and outputs with the push of a button, create presets, and chain multiple modules for synchronized patching.
Communication between the modules occurs over the Eurorack power bus as well as over MIDI via the USB-C connection. The Exchange maintains analog integrity, ensuring there’s no conversion latency. The forthcoming release expected in late November 2024, includes a USB-driven editor for enhanced control capabilities.
"Experience the Electrifying Sound of Nathan Wilmarth's "Voltage Controlled Joy" – Winner of The DotCompetition 2023! 🎹🎶
Immerse yourself in the enthralling world of synthesizers as we present to you Nathan Wilmarth's award-winning performance of "Voltage Controlled Joy." This vibrant and innovative composition triumphed over all the other entries in the prestigious DotCompetition 2023, hosted by Synthesizers.com. Nathan's impressive mastery of Synthesizers.com modules manifests itself in this captivating piece, featuring an eclectic blend of electronic sounds and dynamic beats to deliver a truly mesmerizing auditory experience. 🎧🎚️
Dive deep into the intricacies of this multifaceted composition as we unravel how Nathan meticulously designed the enchanting soundscape: Driven by gates from the Q173, a drum loop breathes life into "Voltage Controlled Joy." The hi-hat, snare, and kick are jointly sculpted with a combination of Q173, Q110, Q107, Q157, Q156, Q112, Q109, Q108 and Q124 modules.
The hypnotic bass line stems from the Q169 #1 oscillator and employs the internal EG, further enhanced by the Q107A and Q158 modules. The lead/solo playing features the Q169 #2 oscillator with PWM from the internal LFO and runs through a Q150A and Q158, controlled by a Q179. An intricate arpeggio segment emanates from the Q175A module, while the Q174 Ch.2 manipulates the pitch to create a harmonious blend of polyphonic chords.
The Q960 sequence and its ratcheting effect are facilitated by a standard synth patch and a selection of modules, including the Q106, Q150A, Q109A, Q108, Q128, Q125, and Q963.
In addition, the Q119A plays a vital role in controlling the patch’s captivating progression.
Experience the magic of "Voltage Controlled Joy" and see why it emerged victorious at The DotCompetition 2023. Be sure to shop for Synthesizers.com modules to create your own show-stopping tunes!"
Performed live from Tool's studio Hollywood, CA by Jill Fraser, Shiro Fujioka, Peter Grenader, Thomas Klepper
Filming/Editing: K. David
Recording Engineer: Tim Dawson
Title Graphics: Hyejin Sunwoo
Produced, arranged and mixed by Peter Grenader
Morton Subotnick's seminal 1971 electronic work Sidewinder performed live at Tool's studio in Hollywood CA on March 26th, 2023 by Jill Fraser, Shiro Fujioka, Peter Grenader and Thomas Klepper, at the invitation of Joan LaBarbara, in celebration of his 90th birthday.
The idea of an adaptation of Sidewinder has been on the radar of zZyzx Society's Jill Fraser and Peter Grenader - both CalArts alumni who worked with Subotnick, for years. The process began with an abridged orchestration drafted by Peter Grenader, where the quartet was encouraged to both replicate his soundscapes and develop more interpretative timbres for the individual parts. With that, two general rules applied:
"This is a live cinematic synthwave electronic music performance inspired by later Tangerine Dream music, where I wanted to setup a more meditative environment and create a slow musical progression by interweaving layers with the Eurorack, using the electric bass as a guitar type of instrument, providing bass from the Moog Grandmother, chords from the DSI OB-6, and texture from the ARP-2600, and more texture from the Buchla 208c Easel Command. This is an entirely live and unrehearsed improvised performance, and I included annotations to show some of what I'm thinking about and also to demonstrate the different musical themes weaving in and out of the texture Since I'm a film composer by trade, this came out relatively cinematic and would work in certain movie score settings. This is a very simple setup to make a big sound. I hope this is educational for you as well, in terms of how I put these performances together. Hopefully this camera angle also helps you learn something!
Patch Notes:
Eurorack:
Stillson Hammer running at x6 multiply but using 1:1 gate from 0-ctrl to make bass. Two envelopes, one to VCA, one to filter.
Tempi clock divider running two channels of Make Noise René. First channel is to Dixie II oscillator to Jove filter to Erberverb. Second is to Serge NTO to Serge VQVCF to Echophon. I'm using a x4 clock divider to the Y channel, which is 1:1 to the VCA gate, but I'm using the C channel gate to the filter, which creates an interesting rhythm.
New electronic duo Strakt is a collaboration between -1 and Allinaire, two artists central to the modular synthesis resurgence in Sydney, Australia.
Their debut album Diagnoses grew organically from improvised modular synth performances and impromptu recordings, shaped with nearly a year of remote sessions and file transfers over the internet due to the pandemic.
Modular synths are notorious for producing almost too much music, making polished and cohesive modular-centric albums difficult to make and rare. Diagnoses is an exception. Every track began as a live modular synth exploration, then went through a complex progression of editing, arrangement, mixing and overdubbing, while always staying true to the original modular components.
The result is a musical journey through the landscape of modern modular synthesis, married to detailed, computer-based production. Allinaire's complex, circuit-bent beats and intriguing, filtered electrical sounds continually surprise the ears, while -1's subtle grooves and detailed arrangements draw the listener ever onward as the album progresses. Sounds evolve, travel and morph, always moving forward, always engaging.
The final, elegant touches to the album are courtesy of Taylor Deupree of 12K, a leading light in ambient music, and a talented mastering engineer.
The duo is already working on a direct-to-tape-live-in-one-take companion album to Diagnoses, while planning a small regional tour and a future vinyl release.
"This is a live cinematic synthwave electronic music performance inspired by later Tangerine Dream music, where I wanted to setup a more meditative environment and create a slow musical progression by interweaving layers with the Eurorack, providing bass from the Moog Grandmother, chords from the DSI OB-6, and melody from the ARP-2600. This is an entirely live and unrehearsed improvised performance, and I included annotations to show some of what I'm thinking about and also to demonstrate the different musical themes weaving in and out of the texture Since I'm a film composer by trade, this came out relatively cinematic and would work in certain movie score settings. This is a very simple setup to make a big sound. I hope this is educational for you as well, in terms of how I put these performances together. Hopefully this camera angle also helps you learn something!"
"Born August 4th 1947 in Berlin, died April 26th 2022, was a german electronic pioneer, composer and musician. Schulze initially made his mark as a drummer, first with the group Psy Free, later with Tangerine Dream (he played on their first album "Electronic Meditation" before he quit) and Ash Ra Tempel (with Manuel Göttsching). In 1971 Schulze started a solo career as an electronic musician and released a couple of heavily experimental albums, 'Irrlicht' and 'Cyborg'. 1973's 'Cyborg' was the first release where he used a 'real' synthesizer, the legendary VCS 3 and later in the 70's he would record albums such as 'Moondawn', 'Mirage' and 'X' and embark on several tours, documented across a number of live albums.
In 1978 he set up the label Innovative Communication and the following year he also launched the pseudonym/project Richard Wahnfried. In the 1980's Schulze continued his hectic release schedule as well as recording several soundtracks and rebuilding his studio (he "went digital" in 1986). In summer 1983 Klaus Schulze 'sold' Innovative Communication.
In the 1990's Schulze recorded several electronic interpretations of works by classical composers (most notably Wagner) as well as collaborating with opera singers and other classical music performers on his own albums. He also started collaborating with German ambient/techno artist Pete Namlook in the series 'The Dark Side Of The Moog' on the latter's Fax label, and steered the Wahnfried project into a more modern techno- and trance-inspired direction.
Schulze '...passed away on April 26, 2022 at the age of 74 after a long disease but all of a sudden'. - statement from his social media pages."
You can find numerous posts mentioning Klaus Schulze over the years here. Below are a few better known performances featuring his work from early on to a more recent performance with Dead Can Dance's Lisa Gerrard.
"A pioneer of electronic sound, Klaus Schulze and his contributions to the synthesizer community and modern music as we know it will continue to inspire for generations.
Thank you, Klaus, for showing the world how truly human electronic music can be.
This image was taken in Berlin in 1976 according to Till Kopper @realqwave. That would have made him 28 or 29 at the time depending on the month taken.
"The initial idea for this track is that it uses a 4 chord progression centered around the note E to give the music some variation. The chords are Em, C, C#m and D Major Add 9. I recorded several takes last week with a solo on the Minimoog but I was never satisfied or could not get the solo right. Last week I also got the Boss SY-200 Synthesizer pedal for I was curious what it could do. After using it a week I have got mixed feelings on the pedal but maybe I have got to explore it a little bit more. I am not a big fan of using guitars in electronic music, but in this video I use it for the solo part. It's not perfect but I wanted to get this track out and move on with other things, hence the title.
Anyways, the track starts with a bass on the Synthesizers.com, percussive noise from the Korg ARP Odyssey and a sequence from the Tom Oberheim SEM. After that sequences are added from the Weston Precision Audio PAO and Verbos Harmonic Oscillator Eurorack modules, the DSI Mopho, the Moog Prodigy and the Synthesizers.com Modular. The strings are from the Roland JD-800. The guitar solo is performed on a Gibson Les Paul Studio through the Boss SY-200 pedal with some 'Pat Metheny like' sound. Hope you will like it.
"Moog Sub37 Prophet Rev Volca Drum Stretchweaver beats vocals live ambient electronic burial style beats and drums.
The mix you hear is as it was performed. No overdubs. The Sub37 and the Prophet Rev2 are going through the Strymon BigSky, and then into my computer via my GoldMike Pre-Amp. I applied a little multi-band compression and a limiter to the final stereo mix in post.
The track is titled 'Grey Lies' and is a work in progress.
The white noise you hear was sampled from the Sub37 and looped in the DAW. The bass tones are coming from the Moog Sub37 and into channel 1 of the stretch weaver - the melody loop sequence is coming from the Prophet Rev2 and into channel 2 of the stretchweaver. The stretchweaver is set to the tape setting, and as the bass opens up it controls the side-chain to the melody on the Prophet Rev2. The volca drum is playing the simple mid-kick pattern from the start, with some hi-hats coming in at the peak of the track. I created the burial style drum pattern in Cubase 11 Pro using various samples of rocks and stones, along with various kick drum layers. I took the vocal sample from an acapella on Youtube and re-arranged the pitch and the words to make my own melody and meaning.
"After a long hiatus, it's SUPERBOOTH time again! We're excited to be in Berlin once more and present our latest developments. This time, we've got no less than 3 new Eurorack modules in the series! If you are attending the event, you can check them out for yourself at booth Z125 in the tent village, outside the FEZ Berlin venue. If not, read on below!
ENHANCE 2
Moving from mono to stereo sound: a logical progression for any synthesist looking to expand their sonic palette. Making use of two audio channels, rather than just one, quite literally adds another dimension to the capabilities of a synthesiser.
Unfortunately, controlling stereo signals can be a challenge within a modular system. This realisation led to the development of Enhance 2: a convenient yet high-fidelity tool for stereo enhancement.
The primary stereo parameters are balance (moving the sound left or right) and width (making it narrower or wider). In addition, tone control is provided by a pair of unique, wide-ranging mid/side voltage controlled tilt filters.
Apart from the internal tilt filters, mid/side outputs also enable external signal processing such as compression or reverberation. An integrated mid/side decoder returns the results back to standard stereo.
ORBIT 3
In everyday usage, 'chaos' means 'disorder, 'randomness'. In mathematics however, chaos has a very specific meaning. Chaos theory deals with systems exhibiting highly irregular behaviour, seemingly random yet completely deterministic.
Orbit 3 incorporates a modified electronic analogue of the classic double-scroll chaotic attractor. The voltages at each of the module’s outputs can be thought to describe the orbit of a particle through 3D space around two equilibrium points.
Not just limited to low frequency modulation use, Orbit 3 can operate in the audio frequency domain as well, yielding a variety of waveforms from its three complementary output pairs. These span a wide range, from near-sine waves to white noise. The addition of temperature compensation and calibrated pitch tracking makes for an unconventional and lively, yet also accurate audio oscillator.
STEP 8
Step 8 represents a new type of modular building block: a sequential tracking/sampling register, which can be configured to provide a variety of functions. These include sequencers, sequential switches, counters, analogue shift registers...
At its heart lies an analogue 1-to-8 signal switch feeding an octet of high-stability track/sample-and-hold stages. Each of these has its own analogue output with an attenuation slider, in addition to a gate output. LEDs visualise the status of each stage in real time. The switch can be controlled sequentially using the built-in 8-step counter, or addressed directly by an analogue control voltage (CV).
For those who are feeling adventurous, there are always more applications to try: configurable voltage mapper, hocketing controller, clock divider, graphic waveshaper, multi-output analogue downsampler...
"32-Key USB MIDI Controller Keyboard with 64 Step Polyphonic Sequencing, Chord and Arpeggiator Modes
The Behringer SWING gives you full control over any synthesizer or virtual instrument in your DAW via USB or MIDI. Featuring a 64-step sequencer with an 8-note polyphonic sequence combined with 32 compact-sized keys and pitch and modulation touch-strips provide unlimited ways to express yourself in a compact and portable package.
The SWING’s 32-compact-sized keys create a perfect balance between size and playability. The keys give you the ability to create more nuanced and colorful passages with velocity and after-touch functionality. Use the Pitch and Modulation touch-strips to add even more character to your music. Chord Play Mode allows you to play a chord with up to 16 notes with one single key for some really enchanting Trance music. The SWING also features a 64-step polyphonic sequencer so you can create any progression imaginable and even play over it. Switch to Arpeggiator mode and create an amazing string of notes that can sync to the clock of any device the SWING is connected to.
The Mode knob on the SWING can select up to 8 saved programs in Sequencer mode, while in Arpeggiator mode, you can select different playing orders such as up, down, inclusive, exclusive, random, note order, double up and double down modes. Select from 8 different time signatures with the Scale knob and adjust the tempo with the Tempo knob or the Tap button. Press the Record button to start recording a sequence. This also doubles as an Append button when holding down Shift. Use this along with the Stop/Clear Last button and you can edit your sequences and arpeggios on the fly.
Update: And a response from Arturia followed by Axel Hartman who designed the physical look of the Keystep:
Arturia:
"Hello everyone,
We have been informed on Sunday November the 22nd of the upcoming release of a new product called Swing, by Behringer.
This product is in no way the result of a partnership between Arturia and Behringer.
We have worked hard to create the _Step range. We have invested time and money to imagine, specify, develop, test and market the KeyStep. Along our distributors we have been evangelizing this product, placing it in stores, explaining it, servicing it.
Of course we accept competition, and would absolutely understand that Berhinger give their own interpretation of a small and smart controller that would also be a sequencer. Others do, we have no problem with that and see good for the customer, as well as for the industry, in fair competition.
But this is not fair competition here.
Coco Chanel once said: “If you want to be original, be ready to be copied”. So we could in a way consider the Swing as a compliment.
We could.
In any case, thank you, everyone who came out and supported us these past 36 hours! It's been very helpful, very much appreciated.
"I do feel the need to comment on the many postings I can find here @ Facebook in several places regarding my thoughts, feelings, but also the truth about the blunt Behringer copy of the Arturia key step.
Arturia and myself, aka my company design box are designing instruments, synthesizers, controllers, interfaces since many years. As industrial designer, I contribute mostly my services on the asthetical side of a product. This is true for almost all hardware products that you know from Arturia. In all cases, Arturia is buying my services - I never licensed any of the designs. Arturia always pays, and naturally owns the output of my work, that - by the way - is alway the result of an in-depth cooperation with their internal team of specialists.
Arturia and myself are working together since many years, and we share the deep desire of designing innovative products. I could never share any of the designs, that came out of that cooperation with any body else, legally not, and not from my personal high attitude in that regards. So anything, pointing in that direction is simply fake information. Neither the company Behringer, nor Uli himself have ever approached me with a request like that. And I would also never ever do something like that - I can not license anything that is not in my possession.
Personally, I feel sad, and am also upset about that sheer copy of a design, that I once created for, and together with Arturia, the team around Frederic Brun. These people have spent lots of efforts and great energy in building a brand and all that belongs to a brands assets. It is simply not right, somebody else is taking advantage of that hard work (which is not only true for Arturia, but for all great brands, that must see their most successful products being copied)
I do not understand (Uli) Behringer - with his huge company and the power of many great R&D teams - some of the best and most respected and innovative companies we know in our business, that Uli was able to simply buy in the past with his money. A product like that copy simply can not represent the core values of the people, he could convince to be part of his company. It is simply sad, and I can not understand that move (like many, it seems)."
And then there's the following mock-up from Atomic Shadow that pretty much sums it up:
Update via Wikipedia: "Music Tribe, formerly Music Group, is a holding company based in the City of Makati, Metro Manila, Philippines.[2] It is chaired by Uli Behringer, founder of Behringer. Music Group rebranded to Music Tribe in December 2017.[3]...
In 2015, Music Group's portfolio included Midas, Klark Teknik, Behringer, Bugera, Eurocom, Turbosound, TC Electronic, TC-Helicon, Lake, Lab.gruppen, Tannoy, TC Applied Technologies and CoolAudio[6]"
"Since various magazines and Arturia have publicly called us out over the launch of our Swing MIDI Controller, we would like to respond and share some facts around the principles of competition and clear up some misconceptions.
Competition is a highly effective tool to drive innovation by empowering Customers to make their best choices and force manufacturers to constantly reinvent themselves. Innovation means progress and this happens on many levels, whether it relates to customer experience, functionality or cost efficiencies etc. There are 4 established marketing strategies: market leader, market challenger, market follower and market nichers. Here is a great article: https://aytm.com/blog/brand-positioning-for-a-competitive-edge-part-3/
The competition law was designed to avoid companies creating a market monopoly and stifle innovation, which would be detrimental to the rights of the Customers to expect better offerings. The law was specifically designed to encourage everyone to fiercely compete, even when it means over the same functionality and design, provided intellectual property such as utility (functional) and design patents as well as trademarks etc. are respected.
How many Fender Stratocaster or Gibson Les Paul clones are out there in the guitar world and how many SM58 clones are available? How many cars or mobile phones look alike? It is not surprising that Gibson recently lost a substantial legal case trying to prevent others from making V-shape guitars or Fender, who lost all trademark cases related to their Stratocaster design. The reason is simple: the law encourages competition and provides maximum freedom for companies to engage head-on, all for the benefit of the Customer.
We are spending large amounts of resources on innovation, which is reflected in products such as X32, XR18, Flow, DDM4000, etc. This made us the global market leader for analog and digital mixers and over the years we have built an extensive patent portfolio: https://community.musictribe.com/pages/intellectual-property However, we also clearly choose to follow successful brands and products, while adding more features and/or competing on price. Much of our innovation is invisible to the Customer as it relates to our highly advanced and automated design and manufacturing processes and for that we are spending hundreds of millions of US$. For this reason, we have become strategic partners with Microsoft, Siemens, Adobe and many other Tier 1 companies as we are pushing for extreme digitization and automation.
The follower marketing strategy is a very common business model in any industry, which is enabled by law to encourage competition. With our new Swing MIDI Controller, we followed an established concept, but of course wrote our own firmware with added functionality. However, these unique features will only come to life when we launch our free DAW.
The free Music Tribe DAW will form the heart of an incredible eco-system, where all our controllers, synthesizers and drum machines etc. will integrate seamlessly, thus dramatically improve connectivity and workflow. This will make it incredibly easy for our Customers to create, edit and share their music. Only our upcoming controllers will feature total integration with our synthesizers, drum machines, digital mixers and other Music Tribe equipment, while also offering standard functionality with all 3rd party products.
For anyone familiar with the industry landscape, Arturia has been cloned for years (Worlde MiniMidi, etc.), while the company has also been “borrowing” from others with their VST replicas of legendary hardware synths, open-source code from Mutable Instruments, the “Expressive Touche” controller or the registration of known “DX7” and “Synthi” marks. Equally, our own analog Xenyx mixers and many other products have been widely cloned. ¬We will absolutely continue to deliver innovative products but also follow our competitors as we expect our products to be cloned - fair play.
We are very cautious when it comes to our follower approach and employ expert intellectual property firms to ensure our products stay within the boundaries of the law; we are committed to never intentionally infringe on other companies’ intellectual property.
Many years ago, we were entangled in bitter lawsuits with Mackie and Pioneer, which we all won. But we also recently lost a case against Yamaha in China related to a simple fader knob design that involved a design patent we were unfortunately not aware of. We changed the design, we will pay the fees and move on. Notably, Yamaha themselves were sued by Dr. Dre over their headphone designs (https://www.cnet.com/news/dr-dre-sues-yamaha-over-headphones/) or entangled in other legal matters (https://www.gov.uk/government/news/musical-instrument-firms-to-pay-millions-after-breaking-competition-law), which clearly shows how competitive business is. The heated Apple versus Samsung disputes are a prime example.
It is our Purpose and Mission to empower Customers who don’t have deep pockets and provide them with the best possible equipment at fair prices. We do understand that we are a fierce competitor and at times controversial as we’re relentlessly push the envelope.
We would like to thank all our Customers who have supported us over the past 30 years. We are absolutely committed to continue to deliver the best possible products at the lowest possible cost."
"Out of leftfield, MajorOSC brings 100 fresh new patches to Sequential's Prophet 6! Available Now at http://MajorOSC.com/Element6
Element 6 presets sound organic and alive. Expect plenty of movement, rhythm, variety, and that unmistakable MajorOSC style; bold, musical, and addictive to play.
This is nothing short of a joy ride on one of the best VCO analog polysynths currently on the market.
No themes. No limits. Wait, no theme? Nope. So what is Element 6?
This is a collection of analog synth patches designed for electronic music. This should become exceedingly apparent once you hit the play button. Genres; Progressive House, Big Beat Techno / Industrial, Synth Pop, and Classic Rock. Expect a healthy dose of soft and sophisticated pads, grimey and far-out distorted epic leads, ultra smooth plucks and keys to throw down your latest chord progression ideas, and last but not least, some deep funky bass.
There's 2 main sections of Element 6, split evenly 50/50.
The first 50 presets are a variety of sounds that explore the prophet 6. They're designed to strike a balance between experimental and accessible. They're edgy, yet musical and fused onto familiar patch types that tend to work incredibly well on VCO synths. In other words, they'll be musical and expressive, as opposed to conceptual and useless.
The second half is relatively more organized, for your convenience. Expect to find 10 or so of each; Bass, Pads, Distortion/Leads, Arps. and classics. They're the ones I designed with the intention for you to use them as go-to starting points. They're purpose built to be ready for throwing down in a jam session, or new project/track. But they're made in a way that should allow easy tweaks without too much head scratching.
Inflences of this Patch Bank include the following artists:
Eric Prydz / Pryda *2005-2010 progressive house era*
Quincy Jones
Chemical Bros
Tycho / Ghostly Digital
The Rolling Stones
GrandMaster Flash & The Furious Five
Nine Inch Nails
Vangelis
Haywyre
Maceo Plex / CrossTown Rebels
DeadMau5
Knife Party
Crystal Method
Alice in Chains
(That'd be the most incredible and random lineup to have at a concert wouldn't it?)"
"A live, semi-improvised track, performed entirely on the Elektron Octatrack MkII. Still in the island cabin, I decided to load some old stems into the Octatrack and see what happened.
Before I got into this all-hardware approach, I stalled out for years making fragments of songs in DAWs; it was really only the immediacy and performability of hardware that got me finishing electronic music with any regularity. So I thought I'd find something not too dusty and transfer it from DAW to DAWless. These are the results.
All the loops are my own, and made primarily with Maschine. Sounds come from a variety of Maschine-compatible formats, including Arturia's V Collection and the Korg Gadget series, as well as the Maschine sample library (the 808, in particular). The main loop of the song adheres pretty closely to my original DAW sketch.
But it's really the Octatrack that takes this from a sketch to a finished song. First, I created an entire second section with the Octatrack, a 'chorus' where the samples are chopped and pitched to a new progression. Second, and critically, I use the Octatrack's scenes to add variation to the samples, to progress through the song from a beginning to an ending, and of course to make things get wild and weird. Scenes are Octatrack magic.
Performed live and uploaded as is, with some limiting on the master (I used the Octatrack's master-level compression for most of the dynamics-shaping).
Jean Michel Jarre launches a Music App EōN on the Web Summit
Published on Nov 7, 2019 servicesmobiles
"Jean Michel Jarre unveils infinite music app EōN - iOS app produces infinite, ever-evolving music composed by Jarre
- https://apps.apple.com/app/e%C5%8Dn-b..."
"EōN produces infinite, ever evolutive music, abundant in variations, composed by electronic music pioneer Jean-Michel Jarre, accompanied by a constant progression of organic visuals.
Once you launch the EōN app, you can listen and watch a new infinite musical experience which has been designed to be absolutely unique for each listener, and always different each time you launch the app.
You can take this journey for as long as you want, the only limit is your device's battery!
JEAN-MICHEL JARRE ABOUT EōN:
« EON » is an ancient Greek God associated with Time & Eternity.
The « time » represented by EON is infinite and unbounded in the sense of « ages » and « forever ».
In cosmology, geology or astronomy, EON is often used in reference to a period of a billion years…
I named this project EōN, as it best defines exactly what it is – an infinite musical and visual creation, which offers each individual a unique experience on its primary support as an App: on each device, and on each launch of the EōN App, you will hear and see a unique ever-evolving orchestration of the music & the visuals. EōN is a never ending, never repetitive, organic art-piece that will live & grow forever in everyone’s own singular space-time continuum, at the tip of their finger.
Personally, I truly feel that EōN is probably one of my most exciting creative projects since Oxygene. I always wanted to create a music specific for each listener and which could constantly evolve. Here it is. EōN is conceived & composed for your own infinite journey.
I had a very clear idea of the organic, living visuals I wanted to accompany my music creation, and I was very lucky to have spent some time in Tokyo at Sony Computer Science Laboratories, Inc. (Sony CSL) where I found Alexis André and his singular visual world. Sony CSL with Alexis have conceived and developed an algorithm generating the endless flow of ever-evolving graphics, which like the music is never ending, nor repetitive.
The algorithm and audio engine that orchestrates the music of the EōN App have been engineered by Alexis Zbik & Vianney Apreleff from BLEASS after we defined the rules of the system together.
CREDITS
Conceived & Composed by Jean-Michel Jarre
Digital graphics by Alexis André of Sony Computer Science Laboratories, Inc. (Sony CSL)
Music algorithms & audio engine powered by BLEASS
Produced by Aero Productions
Terms of Use: http://jeanmicheljarre.com/eon/terms-of-use"
"'I definitely come from the school of thought that sound is for everyone' - Sandunes.
We spent a day filming and recording with Sandunes and Launchpad X. In this video, she takes us through her music making journey - from where her passion began through to her progression into the electronic music world.
Launchpad X is our essential 64-pad MIDI grid controller for Ableton Live. It gives you everything you need to make music. Launch, play and perform your sounds and build your tracks using the large, super-sensitive RGB pads, dynamic note and scale modes, and mixer controls. That’s not all, Launchpad X includes sounds, instruments and effects from AAS, Softube, XLN Addictive Keys, and Klevgrand R0Verb and DAW Cassette- plus membership to Novation Sound Collective.
With Launchpad X, you’re only limited by your own imagination.
--- Check out Sandunes performance with Launchpad X: [below]
"For your consideration is a very rare Swarmatron 8 Oscillator FM Modulation Analog Ribbon Synthesizer. It is in excellent physical, and 100% operational condition. Please refer to the specs and description below. Payment via paypal to include $ 85.00 shipping in the Continental U.S. within 48 hours of auction end. Overseas or International shipping is set at $ 250.00
This is a synth like no other, eschewing conventional controls, nomenclature and even an ordinary on/off switch. Is it destined to become a cult classic?
"Schtang & Aengus return for another live studio hardware jam. Changed direction and worked this introspective ambient jam with some rainforest flavours. This is part 1 of 2 installments, with the second taking on a more percussive and driving feel.
This is a slightly developed studio jam and shows us experimenting with soundscapes before progressing it into a solid piece in the second installment. Still discovering our synergy together and working at using instruments and effects that complement our playing style and taste.
Studio Talk:
The Microkorg offers the central melodic pad and some intermittent bass sounds gluing the composition together. It is being processed by the TC Electronic M300 multi effects unit to give it some more space and eloquence in the mix.
The Elektron Octatrack MKII sets the mood with some rainforest soundscapes and acts as an effects unit for the Moog Sub37
The Moog Sub37 provides a surreal arp which intermingles with the other sounds and creates the rhythmic driving element.
The Electribe 2 is the central hub and acts as the midi clock while also sequencing and processing the Korg Volca Keys.
Everything runs back into the Mackie VLZ4 2404 and all mixing was done via the console"
Schtang & Aengus - Alluvium Part 2 (Percussive Jam) ft. Octatrack mkii, E2, TR08, Sub37, Microkorg)
Published on Jan 18, 2018 Schtang
"The second installment of Alluvium by Schtang and Aengus. Picking things up from the ambience of Part 1 and developing it into a more refined and rhythmic performance.
Very excited at our progress and we will continue to post our music whether it's well crafted or not. Keen to hear how you think of our progress!
Studio yarn:
The TR-08 is the driving percussive element of the tune with its signature kicks and hats driving the progression and mood.
The Korg Microkorg adds some warmth with wide, luscious pads.
The Electribe 2 provides some backup percussive elements and sequences and processes the dark tones from the Volca Keys.
The Octatrack sets the mood for the piece with some atmospheric percussion and forest ambience.
The Sub37 provides the panning growling bass patch which shuffles in and out of the piece."
"The VCS 3 is quite often referred to as having the look of a scientific instrument. I guess in some ways it makes sense as EMS were explorers of sound and high technology at the time.
I decided to do something different from drones or sound effects this week so here's the outcome.
I first created sounds I liked then arranged the audio into something that had some kind of progression/musical sense to it. It has that 60's electronic music vibe and a bit more exploratory than maybe something you would put on your stereo for a quiet evening at home!"
"To project αυτό έγινε στα πλαίσια εργασίας του μαθήματος Ηλεκτρονικά Μουσικά Όργανα του τμήματος Μηχανικών Μουσικής Τεχνολογίας και Ακουστικής.
Πρόκειται για ένα synthesizer που βασίζεται στην ιδέα του Theremin ως προς τον τρόπο διάδρασης με τον χρήστη, ενώ ως προς την δημιουργίας ηχοχρώματος του βασίζεται στην τεχνική Frequency Modulation Synthesis.
Ο χρήστης δηλαδή με την κίνηση του χεριού ελέγχει μια ακολουθία από νότες σαν εξέλιξή μιας μουσικής κλίμακας που θα επιλέξει. Ενώ ταυτόχρονα μπορεί να ρυθμίζει το φασματικό περιεχόμενο χειριζόμενος τα ποτενσιόμετρα. Το ηχητικό αποτέλεσμα που θα παράγει βασίζεται στους λόγους αρμονικότητας που θα ορίσει καθώς και το εφέ που θα επιλέγει να συνοδεύει την βασική γεννήτρια ήχου. Σκοπός είναι να δοθεί στον χρήστη η ελευθερία του να διαμορφώσει την χροιά του οργάνου με ποικίλους συνδυασμούς πειραματιζόμενος με το χειριστήριο.
Για την κατασκευή του χρησιμοποίησα ενα Arduino Mega 2560, και τον αισθητήρα κίνησης Ultrasonic Sensor HC-SR04.
Ο προγραμματισμός της γεννήτριας ήχου έγινε στο περιβάλλον της Max Msp."
Googlish:
"This project was done within the framework of the Electronic Music Instruments course of the Department of Music Engineering of Technology and Acoustics.
It is a synthesizer based on the idea of Theremin in how to interact with the user, while in terms of its sound coloring it is based on the Frequency Modulation Synthesis technique.
The user, by moving the hand, controls a sequence of notes as a progression of a music scale he chooses. While at the same time it can regulate the spectral content by manipulating the potentiometers. The sound effect it generates is based on the reasons for its harmonicity and the effect it will choose to accompany the basic sound generator. The purpose is to give the user the freedom to shape the instrument's complexion with a variety of combinations by experimenting with the controller.
For construction I used an Arduino Mega 2560, and the Ultrasonic Sensor HC-SR04 motion sensor.
The sound generator was programmed into Max Msp's environment. "
