Doobie MX-150R Foot Bass Keyboard Analog Synthesizer (Made in Japan)

video upload by Make Noise Not War

This appears to be the first Doobie MX-150R to be featured on the site. They also made the Rhythmini FR-112 preset rhythm drum machine.

Screen grab in case the video disappears, followed by a few pics of SN 00703 found online:

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Roland SH-32 Shapeshifta Soundset

video by Soundsauca

"Shapeshifta for the Roland SH-32 features 64 luscious synth ambiences and rich analog strings. Trippy leads and sound effects mutate into ear bleeding slabs of weaponised audio.

Open that cupboard and grab that box, blow the dust off and wipe the early naughties from your Roland SH-32’s brain. With Soundsauca’s SH-32 life extension plan you too can inject some new sysex into this unappreciated little fella. Often maligned and misunderstood, the SH-32 is an experimental hybrid of a synthesizer.

Sometimes it feels like a long lost cousin of the JV/XV and JP8k series, other times it spits out D-50 and JD-990 memories. However the SH-32 is it’s own thing and I had a blast getting to know it again. As you might guess, I love the character of the SH-32. It has bags of personality, an enticing blend of lo-fi goodness and tripped out sonic vocabulary.

I hope you enjoy the Shapeshifta, please like and/or subscribe if you do - it sounds cliche, but it really does!

https://www.soundsauca.com/sounds/sha...​

Patch List:

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Sound Design Pt.1: Surf/Sea/Waves

Published on Jul 16, 2018 Kris Lennox

"Quick introduction RE how to create the sound of surf/sea. Take note the principles can be applied to any decent programmable synth. This should prove useful to synth users/sound designers in general, and also those working in Foley etc. I'm very much of the opinion that seeing - and hearing - the process of sculpting a sound is far more useful than reading a book/article on patch settings. The article/patch approach - whist useful - is imitative, and more often than not doesn't really lead to an understanding of the 'how'. Hence I never upload patch settings for sounds I make. The 'how' is of more value, and is the freeing part of the process. And also allows for personal variation/input.

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In through the Out - Nord Drum 3P, MFB Dominion 1 & Tanzmaus, Elektron A4, Make Noise 0-Coast

Published on Apr 15, 2017 Cave Way

"I recently picked up a Nord Drum 3P, and wanted to play a tune to feature it. Then this 7/8 groove/melody came up and I went with that. Cameos in the background from my girlfriend, daughter, and dog throughout.
I threw some Phil Collins-esque drum fills in at the end. The Nord Drum 3P sounds awesome. I personally can't wait to hear this through a huge sound system on stage. Whether you want to make DnB, 80's synth pop, or hand clappiness, it does it all. And of course the 0-Coast shines as a bass synth when not making bleeps or bloops.

Finally, cheers to a nuclear war not starting today! Peace Out"

MOOGFEST ANNOUNCES PROTEST STAGE PARTICIPANTS FOR FESTIVAL’S OPENING NIGHT

via moogfest

"Featuring Talib Kweli, Omar Souleyman, Mykki Blanco, BEARCAT, Pie Face Girls, MIT Open Doc Lab, NEW INC, Found Sound Nation, and Goldsmiths

The independent, annual, four-day festival will take place in
Durham, North Carolina from May 18-21, 2017.
This year marks its 11th iteration honoring the spirit of inventor Bob Moog.

$249 for 3-Day General Admission and $499 for 3-Day VIP

All prices exclusive of applicable fees.

March 21, 2017 - Moogfest will dedicate its main stage on opening night to exploring how creative technology tools and protest music can be used as instruments for change. This Protest stage will be led by local and international artists Talib Kweli, Omar Souleyman, Mykki Blanco, BEARCAT and Pie Face Girls, MIT Open Doc Lab, NEW INC, and app developers at Goldsmiths University. The diverse Protest stage program will include performances, talks, and participatory technology experiments. Moogfest invites all presenters and attendees to explore sonic resistance and emerging technology tools for counteraction while celebrating radical inclusivity and intersectionality. New technologies for educating, organizing, and art-making echo Moogfest’s rallying cry: Synthesize Love.

Protest comes in many forms, and no single genre can contain the musicians participating in Thursday’s program. Talib Kweli is a renowned recording artist, entrepreneur, and social activist who uses hip hop to educate, inspire and agitate. He is well known for his work combating racial stereotypes, the prison-industrial complex, and police brutality. Syrian artist-activist Omar Souleyman represents culturally diverse musical traditions that include Kurdish, Ashuris, Arabic, Turkish and Iraqi communities. Fearless noise rap poet and performance artist Mykki Blanco was raised in Raleigh, N.C., but has traveled the globe from art-world stomping grounds in New York to his current home in Los Angeles, spitting subversive rhymes on race and LGBT issues. British DJ/Producer BEARCAT makes politically-charged bass-heavy mixes and represents Discwoman, an esteemed collective showcasing cis women, trans women and genderqueer talent in electronic music. Raleigh-based band Pie Face Girls uses defiant punk music to promote a DIY ethos and attack issues like North Carolina’s HB2. Music is one of the oldest forms of protest, but each of these artists makes their causes urgent anew with the music and community they build.

Intermixed with the musical performances, technologists participating in the Moogfest Protest stage program will present recent and developing projects that empower and facilitate social action. Gan Golan and Ron Morrison of NEW INC present their countersurveillance armor for citizens, The Argus Project, a head-to-toe mobile suit embedded with cameras that allows the wearer and its audience of remote viewers to monitor and record environmental behaviour. Taeyoon Choi, also of NEW INC, presents a protest sign-making workshop, exploring signs as a poetic medium for social engagement in an inclusive space that promotes learning from people with differing views and priorities. Halsey Burgund of MIT Open Doc Lab and Joe Zobkiw present the Land Marking app, which captures the sounds of social movements around the world. During the festival, attendees are invited to contribute their voices or listen to the location-based mix of music and voices contributed by previous participants. Vivan Thi Tang, a postgraduate in the Graduate Entrepreneur program at Goldsmiths University in London, created a customized beta of her irlbb app for Moogfest 2017, that presents a unique opportunity for participants to connect with potential collaborators.

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February Ends by Sound of Science (feat Jayden Frost)

Published on Apr 28, 2014 Sound of Science Official·3 videos

Sound of Science is Tom J Carpenter and Jason Huffman of Analogue Solutions.

"Available now on iTunes! http://tinyurl.com/mm2rjt9

CD BABY: http://www.cdbaby.com/Artist/SoundofS...

Sound of Science is a transatlantic duo comprising Tom and Jason of Analogue Solutions.

Tom has been building synthesisers for over 15 years. He has supplied synths to people such as Trent Reznor, Martin Gore, Vince Clarke, Phil Oakey, Daniel Miller, and many more. The designs are directly influenced by his love of electronic music.

Jason is an analogue synth wizard, composer and a lover of all things that make noise. He also produces the legendary Rezfilter videos (see YouTube) that highlight these excellent synthesisers.

Together they have pooled their years of combined experience in songwriting and sound design to produce real songs using real synthesisers.

February Ends vocals via Jayden Frost:

Jayden Frost electrified audiences across the U.S. and Mexico as the voice and face of When in Rome (replacing Clive Farrington and Andrew Mann) on their extensive tour bringing his positive energy to stage performance, radio interviews and television. When In Rome, who's number one hit "The Promise" reached top ten on the pop charts, and #1 on the dance charts in 1989-1990 (and was the most recognized song in the blockbuster film Napoleon Dynamite).

Some of the acts that Jayden Frost has shared the stage with include: Devo (Whip It!), A Flock Of Seagulls (I Ran), Bow Wow Wow (I Want Candy),The Psychedlic Furs (Pretty In Pink), Animotion (Obsession), Deborah Gibson (Only In My Dreams/Foolish Beat), Gene Loves Jezebel (Desire), Dramarama (Anything, Anything), and Tommy Tutone (867-5309).

- See more at: http://www.jaydenfrost.com.hostbaby.c...

Lyrics via Robert Hawkins:

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Richard Lainhart - Bellingham Electronic Arts Festival Lecture & Performance

Slideshow of Richard Lainhart's lecture at the Bellingham Electronic Arts Festival (BEAF), Friday, May 6, 2:PM PST, 2011 (mentioned in this post). Below is a video of the Buchla and Haken Continuum portion of the lecture followed by a performance of Olivier Messiaen's Oraison written for the ondes Martenot at the 48:00 mark (see this post for the original version and this post for another performance by Richard). You will notice Richard makes references to earlier parts of the lecture. These included his training on the CEMS modular synthesizer system and the ondes Martenot (don't miss this post and this post on the CEMS). See the labels at the bottom of this post for more info on each. I will upload those videos at a later date. They were background to Richard's experience with early modular synthesizers and controllers that eventually lead him to the Buchla and Haken Continuum. It was a great lecture and I hope you enjoy it. Be sure to bookmark this one. I also want to thank Richard Lainhart for doing lectures like these. They are a rare treat.


YouTube Uploaded by matrixsynth on May 19, 2011

The following is a full transcript. BTW, if anyone is interested in transcription services, let me know.

"RICHARD LAINHART: BUCHLA AND HAKEN CONTINUUM LECTURE

Speaker: Richard Lainhart
Lecture Date: May 6, 2011
Lecture Time: 2:00 p.m. PST
Location: Western Washington University
Event: Bellingham Electronic Arts Festival 2011 (BEAF)
Length: Digital AVI recording; 57 minutes 32 seconds

[Beginning of recorded material]

Richard Lainhart: Okay. What I want to do now is actually talk a little bit about the system itself here and about the design of the system and explain what's actually happening here and why it's designed this way, and again, my focus on, on expression. So this is, as I mentioned, this is the Buchla 200E. This is a current electronic music instrument that is still being made now by Buchla. Don Buchla again was a contemporary, or is a contemporary of Bob Moog, and he took a very different path than Moog did. And one of the reasons I think that Moog's instruments became so popular, of course the Mini Moog was like the first real break-out electronic music synthesizer, was that Moog's instruments had keyboards on them. They had black and white keyboards. And you could use them to play, you could use them to play rock and roll with them basically because you could plug them into a really loud amplifier and it could be louder than a guitar. And it could be a bass, you know, it could be louder than a bass and all that sort of stuff. And of course a lot of, you know, a lot of wonderful music was made with that instrument.

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QUINTRON DRUM BUDDY ANALOG SYNTHESIZER DRUM MACHINE

via this auction

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