Like a Kid Again on an Analog Synth with the Rhodes Chroma

video upload by MARSHALL MUSIC

"Can’t lie, when I get on an analog synth I become a kid again and the possibilities become endless!"

The ongoing quest for a good simple delay: The Marshall EH-1 Echohead

video upload by Richard DeHove

"Enter the vast realm of Pedal Land and choose your quest. Will it be the ever-popular Quest for the Ultimate Reverb, or will you choose an easy side quest like The Best Classic Phaser? How about one of the original favorites: The Quest for Best Simple Delay.

But what do you call simple? Is the lack of a tap tempo too simple? Does it need more than one core sound? What about the delay length? Is the pedal's physical size important? Will you be happy with mono? Is it simple if it had dual-function knobs?

My idea of a good simple delay is a small footprint, good sound (of course), reasonable delay length, tap tempo, and maybe at least one other sound-shaping function. I don't want any hidden functions or mystery knobs. It needs to have just enough features so you don't keep wanting to slide in your big stereo unit instead.

I recently bought the Arp87 delay to satisfy these criteria and it's a good delay. But I don't use it often enough to remember what the "X" knob does and I've already forgotten how to get into the hidden fifth mode.

Enter the now discontinued Marshall EH-1 Echohead. It satisfies all my criteria and is cheap. It's sort of ugly though quirky enough to get a pass. The knobs are unreadable (I can feel a reknob coming) but with a tap tempo attached and the level set permanently at maximum the only knobs to worry about are the delay type and the feedback.

The EH-1 was released in 2006 joining a range of similarly-styled effects that started in 1998. I couldn't find out when they were discontinued so it's hard to know how old my unit may be. I'm guessing they finished up around 2014. Anyone have any info on this?

Anyway it's been flawless so far, no noise, pot crackle, jack issues or feezes and I've had it running for days at a stretch. It's so good I might even let my Arp87 go (but the DM-2w definitely stays).

As usual there is no external processing or limiting. Slight volume changes that happen when I talk is because the music is ducked against my voice.

0:00 Intro gumpf & specs
2:10 Mono test
3:38 The six algorithms
4:44 Tap tempo
6:17 Ping Pong
7:09 Analog
7:28 Tape
7:54 Multitap
8:07 Reverse
8:21 Filtered
8:36 Slow sounds
11:01 Slow tape
12:04 Slow reverse
12:30 Filter blips
13:20 Conclusion

Many thanks to my kind patrons who keep this channel ad-free
My website: https://richarddehove.com/

Massive Attack Unfinished Sympathy ~ Vintage Synthesizer Recreation ~ RetroSound

video upload by RetroSound

"(c)2007-24 by RetroSound
supported by UVI: http://bit.ly/retrosound-uvi

❤️ Support #RetroSound​ channel: https://retrosound.creator-spring.com

One of my favorite tracks from the early 90s
by Massive Attack
Unfinished Sympathy (1991)
written by Robert Del Naja, Grantley Marshall, Shara Nelson, Jonathan Sharp and Andrew Vowles

Featured the E-MU Emax (1986) and the Moog The Source (1981)

This cover song series contains my own recreations of my favourite songs from the last 50 years. The original music from which I take inspiration belong to their respective owners. I recreate tracks only for personal passion and to pay homage to these tracks.
My intention is not to create covers that sound exactly like the original (if you want to hear identical sounds, please listen the original). It's more of an inspiration with my sounds from the old synthesizers from the past and of course the great appreciation for the original performers and producers.
Check out the original songs with the original artists here on YouTube.
Thank you.

RetroSound synthesizer demo videos since january 2007.
Everything is free. If you like my work, you can also support me with the purchase of my merchandise stuff or my music.
Shop: https://retrosound.creator-spring.com/
Bandcamp: https://retrosound.bandcamp.com"

Scott McAuley Trigon 6 - Isosceles Volume 1 Patches

video uploads by Orano Music

"Isosceles Volume 1 Contains 100 Custom patches for your beloved synth. These consist of Basses, Leads, Pads, Keys, Polys and more. Available now at https://www.orano.co.uk/shop

What a great synth the T6 is and adds a very very different flavour to the Sequential sound pallet. from ripping huge leads and basses to extremely stunning ability to create fantastic soundscapes, the polymod and oscillator design is outstanding along with the two ladder filters. Great synth to program!

I hope you enjoy these!

As always thanks for checking them out!

SM"

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The first 10 Sounds made on first night with Trigon 6!

video upload by Orano Music

"Its Bold, it's Big, Maybe not in physical stature but in sound it definitely is!

The Trigon-6 so far has not disappointed!

00:00 Intro / SM Unison Res
01:02 SM Glorious Times
02:35 SM 80’s Poly Saw
03:39 SM The Growler
04:35 SM Trebuchet
05:14 SM Dirty Saws
06:15 SM Marshall Stack
07:36 SM Funkadellic
08:23 SM Squelch Lead
09:29 SM Warm Keys 1"

Page McConnell's Phish 2022 Keyboard Rig Tour (4K HDR)

video upload by Phish

"A complete rundown of Page McConnell's 2022 Phish keyboard rig. #Phish #Keyboards #synthesizer Special Thanks to Page's keyboard tech Eddie Piotrowski.

Directed by Trey Kerr.

Additional Thanks:

Warneck Research Wurlitzer Electronics
Tim Warneck

Retrolinear Inc.
Mike Suchodolski
Karl Frick
Amanda Fitser
Mike Frank

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EMS Bournemouth built PAIA analog synth 1970s from Martin Hannett

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

via this auction

"Built in the 1970s from modules at Electronic Music Studios EMS Bournemouth factory, this analog modular PAIA modified by EMS Bournemouth 110 volt synth ended up in the hands of Joy Division's producer Martin Hannett who was also a musician mainly using synth and bass guitar.NOTE -The listing is for the synth only, the Hannett AMS delays and Marshall Time Modulators are available from me separately- message me for more info on those. this EMS Bournemouth PAIA analog modularHannett synth is a working piece of history"

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Building A Track: MFB / Wurlitzer Drums & Eurorack Modular Synth

isvisible isinvisible

"Working on a track and thought I'd share the different elements as they're added to the track.

Featuring:
Various modular drum sounds - Strymon Magneto.
Wurlitzer Swingin' Rhythm - Intellijel Springray.
MFB 501.
Music Thing Chord Organ - Doepfer LPG & Frequency Shifter.
Livewire AFG - Doepfer LPG, Marshall Time Modulator.
Synthesis Technology E350 - Doepfer Vactrol Filter, ZVex Instant Lo-Fi Junky.
Neutron Sound Orgone Accumulator - Doepfer Vactrol Phaser, ZVex Fuzz Factory."

Guy Gets High Working on Legendary Buchla Covered in LSD

Update: video is back [and gone - leaving this up for reference]. I switched to their YouTube upload thinking it would be a better option long term for the archives, but apparently not.

Update2: bonus video on YouTube while it's up:

Web Extra: Buchla Model 100 Synthesizer at Cal State University East Bay

Published on May 23, 2019 KPIX CBS SF Bay Area

"Here more about the groundbreaking musical instrument at Cal State University East Bay and what it can do. Interviews with retired professor and composer William R. Shannon, electronic music pioneer Suzanne Ciani, musician and Buchla representative Joel Davel, and CSUEB Associate Professor Inés Thiebaut."

This one is in via Brian Comnes. The legend of the CSU Hayward acid/LSD soaked vintage Buchla 100 is true. Apparently it was dipped in LSD back in the 60s. It wasn't clear, however, if all panels or just the red one was dipped. You can find some additional pics of the infamous CSU Hayward Buchla 100 here. BTW, this was likely some Owsley Stanley LSD.

Left image via Todd Barton: "I love that the red panel is a 156 Control Voltage Processor which can blend, invert and mix up to 6 different CVs! You’re only as trippy as your CVs. Oh, and I love the squiggly line pattern on the faceplate 🤩"

And the article via KPIX5 San Franscico for the archives:

"SAN FRANCISCO (KPIX 5) — For years, an urban legend circulated online and in documentaries, purporting how part of a groundbreaking musical instrument — versions which are stored at a Bay Area university and other institutions — was dipped in a psychedelic drug.

Online chatter detailed how musicians who used the instrument would wet their finger, touch the device, and then lick their finger to get a little bit of mind-expanding inspiration.

Now this supposed myth may turn out to be a reality.

—

At the helm of KPIX Television, Broadcast Operations Manager Eliot Curtis tackles all sorts of technical problems to keep Channel 5 on the air. Recently however, a strange electrical transmission threw him for a loop. It happened inside his brain.

“It was … felt like I was tripping on LSD,” remarked Curtis.

It turns out that Curtis was indeed tripping on the infamous psychedelic drug known as lysergic acid diethylamide, or LSD for short. He got dosed by accident at home in his workshop — in front of his wife.

“I think it’s super wild. I think this whole situation is a nice chapter in the history of the counter culture,” commented Curtis’ wife Holly.

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Buchla (x2) & Matrixbrute

Published on Sep 22, 2018 Kris Lennox

"The highly distinctive Buchla sound, here paired with the Matrixbrute. For this track I've used the Buchla (Easel) as bass/drone. Of course, the Buchla is great for sequencing in its own right. Buchla 2 enters at c. 2:47. With the second Buchla part, I've went for what I like to call the 'Buchla Foghorn' sound. Very obvious at the end of the work.

In terms of the MB: I'm playing with the delay time to create the odd quasi-ratchet jump sound. Very interesting sound.

The master cutoff was set so that when I brought in the resonance, a pure C tone would be created (i.e. the tonic note). This can be heard entering at c. 1:01.

In the highly unlikely off-chance Buchla are reading this: Dear Buchla - please donate me a Skylab and I'll record 50 or so full works/vids you can use for promotional purposes :)

Classical musicians will possibly be aware of the Buchla/classical music lineage i.e. through Subotnick and his students (in my early years of composition, Ingram Marshall was a big influence).

Buchlas are stunning instruments. I'd sell bodyparts for a 200e.

Soundcloud link here - https://soundcloud.com/user-736798162...

And to reiterate to Buchla & Associates: I'll happily babysit any spare Skylabs you have in the office :)

All best
Kris"

In the Field with CDP [Episode 77]

Published on Jul 23, 2018 CatSynth TV

"We check in with the members of CDP as they prepare for their upcoming show at the Outsound New Music Summit. We also chat with Amanda Chaudhary, who happens to be owner of CatSynth and the producer of this channel.

Band members include:
Amanda Chaudhary - Keyboard, Vocoder
Tom Djll - Synthesizers
Mark Pino - Drums
Joshua Marshall - Saxophones

CDP will be performing at the Community Music Center (544 Capp Street, San Francisco) at 8PM on Friday, July 27, 2018. For more information and tickets please visit http://outsound.org/summit/

'CDP (Census Designated Place) is a Bay Area avant-jazz/funk ensemble led by Amanda Chaudhary. They weave together the diverse strands of Mwandishi-era Herbie Hancock, Soft Machine Six and Seven, and Sun Ra’s late 1970s studio recordings. Live performances move effortlessly between snappy 'jingles' and extended improvisations backed by tight, driving rhythms. As far out as it sometimes gets, CDP never loses the thread of the melody or the humor.'

For more music and interviews, please subscribe to this channel, and visit www.catsynth.com."

NAMM 2018 Hammond SKX Organ Jam with Toby Lee Marshall

Published on Jan 26, 2018 Kraft Music

Also see NAMM 2018 Hammond SKX Stage Keyboard and Organ from Kraft Music earlier.

"Find exclusive Hammond SKX Stage Keyboard and Organ BUNDLES at Kraft Music:
https://www.kraftmusic.com/brands/ham...

Toby Lee Marshall jams out on the Hammond SKX Stage Keyboard and Organ at the NAMM Show.

The Hammond SKX stage keyboard is a comprehensive performance instrument, combining an authentic Hammond organ with a versatile array of keyboard and piano voices. Smaller and lighter than any previous full-featured dual-manual Hammond instrument, the SKX features real drawbars for each manual along with typical B-3-style effects and controls (half-moon switch optional). In addition, the SKX's dual independent Extra Voice divisions can be assigned to either manual, layered, or combined with the organ.

Get more for your money with an exclusive Hammond SKX stage keyboard / organ bundle from Kraft Music. These package deals include the accessories you'll need to get the most out of your new keyboard, all for one low price. If you have any questions, please give us a call. Our knowledgeable Sales Advisors will be happy to assist in choosing the bundle that's right for you!"

Tunç Çakır - Voltage Controlled Music - Start Point

Published on Sep 29, 2016 Tunç Çakır

Gear:

Vermona DRM 1 MKIII Silver
Elektron Machinedrum SPS-1 UW MKII (Main Sequencer)
Custom Modular Synthesizer (Pittsburgh Modular, Make Noise, Mutable Instruments, Verbos Electronics, The Haverstman, Doepfer, Stg/Soundlabs, Circuit Abbey, Intelijel)
Arp Odyssey
Korg Microkorg
Roland Re-201 Space Echo
Eventide Pitch Factor
Catalinbread Echorec, Dirty Little Secret MKIII
Marshall Shred Master

"Produced, Mixed, Recorded & Performed Synthesizers by: Tunç Çakır

Music by: Tunç Çakır

http://wicrecordings.lnk.to/voltageco...

Track on the album 'Voltage Controlled Music'
No external computers weren't used in this video. Only used hardware instruments. Single take with no editing.

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The First Computer Generated Music? - Alan Turing's Manchester Mark II

Above is a recording of Alan Turing's Manchester Mark II computer used to generate music. According to the title, it is the first recording of computer music. The following are a couple of excerpts on the piece from the tech blog Engadget, followed by the British Library Sound and Vision blog. Both imply that Alan Turing's machine was the first computer to generate music. I was curious about the timeline, so I took look at at 120 Years of Electronic Music, which is a running list of the history of pivotal instruments in electronic music. Alan Turing's Manchester Mark II is not yet listed. The RCA Synthesizer, however is, and is dated 1951. There were two versions of the RCA Synthesizer, the Mark I and the Mark II which came later in 1957. There was also a computer located in Sydney, Australia that generated music in the 1950s. Based on the following, Alan Turing's Manchester Mark II first generated music in 1948. It's not clear when work on the RCA Mark I may have generated it's first sounds, however it appears it was completed in 1951. There were two previous instruments that influenced the RCA Mark I, namely, Givelet Coupleux Organ of 1930 and the Hanert Electric Orchestra in 1945, however, they do not appear to have been computer based like the RCA Mark 1, or Alan Turing's Manchester Mark II. Worth noting is the the RCA synthesizers were specifically created to generate music, while, Alan Turing's Manchester Mark II was not.

via Engadget:

"Alan Turing is known for a few small achievements, like helping end World War II, laying the groundwork for modern computers and developing the 'Turing test' for machine intelligence. You may not be aware, however, that he paved the way for synthesizers and electronica by inventing the first computer-generated musical tones. A pair of researchers from the University of Cantebury have now restored the first-ever recording made from Turing's 'synthesizer.'

Turing figured that if he rapidly played clicking sounds at set intervals, the listener would here them as distinct tones corresponding to musical notes. For instance, playing the click on every fourth cycle of a computers' CPU produces a 'C' tone, exactly like a modern synthesizer. He tested that theory on his Manchester Mark I, one of the world's first programmable computers. Instead of making music, he used the tones to indicate computing operations like completed tasks and memory overflow errors (meaning he also invented notification sounds).

Turing knew that he could program songs on his 'synth,' but had no interest in doing it. Luckily, talented programmer and musician Christopher Strachey got his hands on the Manchester Mark II's operating guide, which was, by the way, the world's first computer manual. Using that, he coded God Save the Queen, the longest program ever at the time. The next morning, he played it back to surprised onlookers at the lab, including Turing, who was uncharacteristically thrilled, saying 'good show.'"

Left: SSPL/Getty Images

And via the British Library Sound and Vision blog:

"Today, all that remains of the recording session is a 12-inch single-sided acetate disc, cut by the BBC's technician while the computer played. The computer itself was scrapped long ago, so the archived recording is our only window on that historic soundscape. What a disappointment it was, therefore, to discover that the pitches were not accurate: the recording gave at best only a rough impression of how the computer sounded. But with some electronic detective work it proved possible to restore the recording—with the result that the true sound of this ancestral computer can be heard once again, for the first time in more than half a century.

Frank Cooper's original 'acetate' disc (Photo courtesy of Chris Burton)
Fig. 2: The original 'acetate' disc was saved by Manchester University engineer Frank Cooper (Photo courtesy of Chris Burton)

Alan Turing's pioneering work, in the late 1940s, on transforming the computer into a musical instrument has largely been overlooked: it's an urban myth of the music world that the first computer-generated musical notes were heard in 1957, at Bell Labs in America.1 The recent Oxford Handbook of Computer Music staked out a counterclaim, saying that the first computer to play notes was located in Sydney, Australia. However, the Sydney computer was not operational until the end of 1950, whereas computer-generated notes were emerging from a loudspeaker in Turing's computing lab as early as the autumn of 1948."

On the RCA Synthesizer via 120 years:

"In the 1950’s RCA was one of the largest entertainment conglomerates in the United States; business interests included manufacturing record players, radio and electronic equipment (military and domestic – including the US version of the Theremin) as well as recording music and manufacturing records. In the early 50’s RCA initiated a unusual research project whose aim was to auto-generate pop ‘hits’ by analysing thousands of music recordings; the plan being that if they could work out what made a hit a hit, they could re-use the formula and generate their own hit pop music. The project’s side benefit also explored the possibility of cutting the costs of recording sessions by automating arrangements and using electronically generated sounds rather than expensive (and unionised) orchestras; basically, creating music straight from score to disc without error or re-takes.

The RCA electrical engineers Harry Olson and Hebart Belar were appointed to develop an instrument capable of delivering this complex task, and in doing so inadvertently (as is so often the case in the history of electronic music) created one of the first programmable synthesisers – the precursors being the Givelet Coupleux Organ of 1930 and the Hanert Electric Orchestra in 1945.

The resulting RCA Mark I machine was a monstrous collection of modular components that took up a whole room at Columbia University’s Computer Music Center (then known as the Columbia-Princeton Electronic Music Center). The ‘instrument’ was basically an analogue computer; the only input to the machine was a typewriter-style keyboard where the musician wrote a score in a type of binary code."

The Story of the RCA Synthesizer

Published on Dec 16, 2012 alanoneuser

"History of the RCA Electronic Music Synthesizer and the Victor Synthesizer.
Produced by Kevin Meredith.
Featuring Dr. Alex Magoun of the IEEE History Center at http://www.ieee.org/history_center
and Rebecca Mercuri, Ph.D. of Notable Software at http://www.notablesoftware.com/"

1950 early electronic synthesizer: 'This is music with a strictly electronic beat'

Uploaded on Mar 11, 2011 Clips & Footage

Title Screen - 1950's Electronic Music

Published on Jul 13, 2013 Cliff Marshall

Late Night Song

Published on Nov 9, 2014 Wolfgang Schmid

"A Track I've done this evening live again without computers, only synthesizers.

MIDI-Clock as Master Quasimidi Polymorph == Korg MicroKorg == Casio XW-G1
Additional an Korg MS-20 and an Marshall-Amp MG100DFX with an Washburn 93' with FloydRose.
Recording with an Medeli DR3 PCM Linear-Recorder."

Experimente an den Synthesizern (Behind the Scenes)

Published on Apr 26, 2014 Wolfgang Schmid

"Experimente an den Synthesizern Micro-KORG, Nord-Lead1 und Casio XW-G1...
Dieses Video ist natürlich etwas 'unkoordiniert' , aber zeigt wie ich live mit mehreren Synthesizern spiele und wie es so zusammen in einem kleinen Teil funktioniert. So entwickle ich meine Ideen, die ich später Live spiele an den Geräten. Hoffe es gibt einen kleinen Einblick, wie man eine Live-Performance ohne Computer entwirft.
Have fun and make music!"

James Song - An Improvisation by MyOneManBand

Published on May 12, 2016

Gear list further below.

"This is the first of a series I will be making in response to the sheets filled out by the audience of my last TEDx talk.

........................................
About Me :
MyOneManBand is the name I give to the live improvisational electronica that I create in real-time out of sounds from many instruments, often using a mixture of organic sound sets such at classical guitar, marimba, dulcimer, kalimba, accordion and drums with synthetic textures electronic percussion, beeps, bleeps and hiss.

I make music to please an urge that exists within me to see what is possible to accomplish on my own with no pre-recording or backing tracks. I came to this way of working through the live-looping process using audio recording tools such as the Boss Loopstation and Echoplex Digital Pro, but I now find for the main part that MIDI is more flexible for what I do as it allows the musical structures of my work to remain flexible in real time so I can add and strip away layers in a non linear way.

I also make music to take my own small space within the context of the many great artists who are also working in the field and as such I am on a journey that does not expect reward financially or through the more conventional measures of success, but rather I hope to find value in my work through the people who I meet through its undertaking and the ideas and thoughts that they bring into my life.
I am therefore always eager to engage with my views through critique, help or just to talk geek for a while...please...never be afraid to get in touch.

Thanks very much for watching, if you like my work , please consider subscribing to help me continue to spread my work to like minded people.

Phill Wilson (AKA MyOneManBand)

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Imogen Heap - Me The Machine (Official Video)

Published on Apr 22, 2014 imogenheap·78 videos

"Two years to the day since Imogen unveiled the first version of 'Me The Machine' with her Mi.Mu Gloves, here's the official music video!

Back the Gloves on Kickstarter: http://immi.fm/mimukick
Pre-order the "Sparks" deluxe box set: http://immi.fm/ihdeluxe

New album "Sparks" coming soon...

Imogen said: "Today is Earth Day and 2 years ago I performed the first version of Me The Machine written with and for my Mi.Mu gloves. I am dying to let you hear the album but I have to wait, but today I want to let you hear and see the studio version and the additional music video. Hope you really enjoy it! Most of the visuals are being manipulated live using my Mi.Mu gloves as I didn't just want to mime. So I went one step further and worked with the team on getting the gloves ready for visual manipulations."

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MyOneManBand sequencing external MIDI gear with a Tenori-on

Published on Aug 7, 2013 phillwilson·167 videos

"here is the mading-of tutorial:

MOMB Tenori Tutorial

Published on Aug 8, 2013

"I thought I would do a little video showing how the Tenorion can be used as an awesome multi-channel MIDI step sequencer.

The great thing is every channel can run at its own speed and also you can save variations of the sequence at different points and then move between them during the performance.

I hope you enjoy the tune, let me know if you have any questions.

........................................
About Me :
MyOneManBand is the name I give to the live improvisational electronica that I create in real-time out of sounds from many instruments, often using a mixture of organic sound sets such at classical guitar, marimba, dulcimer, kalimba, accordion and drums with synthetic textures electronic percussion, beeps, bleeps and hiss.

I make music to please an urge that exists within me to see what is possible to accomplish on my own with no pre-recording or backing tracks. I came to this way of working through the live-looping process using audio recording tools such as the Boss Loopstation and Echoplex Digital Pro, but I now find for the main part that MIDI is more flexible for what I do as it allows the musical structures of my work to remain flexible in real time so I can add and strip away layers in a non linear way.

I also make music to take my own small space within the context of the many great artists who are also working in the field and as such I am on a journey that does not expect reward financially or through the more conventional measures of success, but rather I hope to find value in my work through the people who I meet through its undertaking and the ideas and thoughts that they bring into my life.
I am therefore always eager to engage with my views through critique, help or just to talk geek for a while...please...never be afraid to get in touch.

Thanks very much for watching, if you like my work , please consider subscribing to help me continue to spread my work to like minded people.

Phill Wilson (AKA MyOneManBand)

CLICK FOR MORE »

DIY ELECTRONICS SYMPOSIUM: Workshops, Silver Apples with Malcolm Cecil on TONTO, Electric Golem with Trevor Pinch on DIY Modular

via Trevor Pinch: "This Saturday March 30 at Cornell Schwartz Center for The Performing Arts we are putting on a cool event which we are calling a 'DIY Electronics Music Symposium'. It will feature panel discussion on DIY electronics (starts 2pm), workshops where you can build your own gear, and a concert (starts 8pm) featuring, Silver Apples, Malcolm Cecil with TONTO, Electric Golem (with Trevor Pinch on DIY Modular [see this post]) plus more.

I know it's short notice but any synth heads in the area might want to check it out. As far as we can tell TONTO and Silver Apples have never been on the same bill together."

Details:

"DIY ELECTRONICS SYMPOSIUM:

SATURDAY MARCH 30
An afternoon and evening celebrating innovation in electronic media,
///TOGETHER FOR THE FIRST TIME EVER:
the legendary Simeon Coxe of Silver Apples and Malcolm Cecil of Tonto's Expanding Head Band,

The afternoon symposium will commence with a panel discussion led by Science and Technology Studies professor Trevor Pinch followed by demonstrations of various home made electronic instruments including the largest synthesizer in the world, The Original New Timbral Orchestra. Doctoral candidates Taylan Cihan (Music), Laewoo Kang (Information Science) and Owen Marshall (Science and Technology Studies) will then lead a DIY Electronics workshop allowing participants to create and keep their own small electronic instruments.

~challenge the politics of expertise~
~explore motivations for innovation~

In the evening from 8-11 a musical and visual 'happening' will be put on with Tonto's Expanding Headband, Silver Apples, The Electric Golem, First Atomic Lunar and more to perform.


__S_C_H__E__D__U__L__E_

2PM-3PM

Panel Discussion Chaired by Trevor Pinch
featuring: Malcolm Cecil, Simeon Coxe, Jeff Perkins, Park Doing.


3:30pm-5:30pm

DIY Electronics Workshop and Demonstrations
-Circuit hacking, bending and creating your own instruments from parts. All materials provided for limited number of participants
provided by Cornell Electroacoustic Center, led by Taylan Cihan, Owen Marshall, and Leo Kang

____________________________________

8PM-11PM
MULTIMEDIA PSYCHADELIC PERFORMANCE

*Silver Apples
*Tonto's Expanding Head Band
*Electric Golem
*First Atomic Lunar
*100% Black

feat DJ Andris Balins

Visual media provided by Jeff Perkins, Park Doing, Leo Kang

The events are free and open to the entire Cornell Community.
Contributions are encouraged to support opening acts.


Made possible by The Cornell Council for the Arts, The Department of Electrical and Computer Engineering, The Cornell Electroacoustic Music Center, The Society for the Humanities, The Science and Technology Studies Department, and the SAFC."

See the TONTO & Trevor Pinch labels below for more including videos and pics.

ETI 4600 Synthesiser Auction Video Overview & Demos

Note: Auction links are affiliate links for which the site may be compensated.
YouTube Published on Aug 9, 2012 by MikeyJTUK
4 part video series for this auction.

"ETI 4600 synthesiser demonstration. This is being sold on eBay from August 15th 2012 and ending on August 25th. World-wide shipping is available. This is an overview showing the complete 1970s vintage analogue synthesiser with an overview of the modules and layout.

This synth was a state-of-the-art design when it was conceived back in the1970s. Designed by Trevor Marshall in 1973, this synthesiser was offered in kit form by Maplin Electronic Supplies (in the UK). The parts cost was around £500, and was said to match the performance of synthesisers costing £1500 - that equates to a staggering £15,600 in today's money (according to www.thisismoney.co.uk calculator). This is a collector's dream! This actual synthesiser is featured on the home page of www.eti4600synthesiser.org.uk website, is fully working, and is in great condition considering it is some 35 years old. This synthesiser was built by me in 1977 when I was a teenager and has remained in my possession until now.

Not only is this a great asset for lovers of nostalgia and early electronic music history, but also for the modern day sound design engineer who can sample these great 70's sounds and combine the wonderful early synthesiser sounds with the precision, reliability, automation, and flexibility of modern DAW's!

See the other 3 parts for an in-depth demonstration."

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