Tuesday, August 22, 2006
Aries Modular Track
Title link takes you to the track by kkissinger on electro-music.com. If you like Switched On Bach by Wendy Carlos, you should like this. BTW, if the post on electro-music dissapears over time, post a comment and I post a back-up. Not sure how long they keep their posts.
Moog Tribute by Simon James aka Corky Burger on CDM
Title link takes you to the post and mp3 on CDM.
Track list:
Walter Carlos, Spring, Columbia Records
Richard Hayman, The Windmills of Your Mind, Command records
Walter Carlos, Sinfonia to Cantata no 29, CBS
Tomita, The Earth – A Hollow Vessel, RCA
Gershon Kingsley, Did You Ever Take a Journey, Audio Fideltiy Records
Chris Swanson, Snow, n/a
Dick Hyman, The Minotaur, Command
Circulus, My Body is Made of Sunlight, Rise Above Records
C&K Vocal, Generace, Supraphon
Emerson Lake and Palmer, Lucky Man, Island
The Moog Machine, Aquarius/Let the Sunshine in, CBS
Marty Gold, Day Tripper, AVCO Embassy
Hugo Montenegro, You Got it Bad Girl, BMG
Clara Rockmore, Swan, n/a
Walter Carlos, Winter, Columbia Records
Dick Hyman, The Moog and Me, Command records
Devo, Mongoloid, Warner
Herbie Hancock, Earth Beat, CBS
Klaus Schulze, Mind Phaser, Bomb Records
Weltklang Electronic Music

via sequencer.de
The $500 Buchla
Title link takes you to a bit of Buchla history.
Excerpt:
"In contrast to Moog's industrial stance, the rather counter-cultural design philosophy of DONALD BUCHLA and his voltage-controlled synthesizers can partially be attributed to the geographic locale and cultural circumstances of their genesis. In 1961 San Francisco was beginning to emerge as a major cultural center with several vanguard composers organizing concerts and other performance events. MORTON SUBOTNICK was starting his career in electronic music experimentation, as were PAULINE OLIVEROS, RAMON SENDER and TERRY RILEY. A primitive studio had been started at the San Francisco Conservatory of Music by Sender where he and Oliveros had begun a series of experimental music concerts. In 1962 this equipment and other resources from electronic surplus sources were pooled together by Sender and Subotnick to form the San Francisco Tape Music Center which was later moved to Mills College in 1966.
Because of the severe limitations of the equipment, Subotnick and Sender sought out the help of a competent engineer in 1962 to realize a design they had concocted for an optically based sound generating instrument. After a few failures at hiring an engineer they met DONALD BUCHLA who realized their design but subsequently convinced them that this was the wrong approach for solving their equipment needs. Their subsequent discussions resulted in the concept of a modular system. Subotnick describes their idea in the following terms:
'Our idea was to build the black box that would be a palette for composers in their homes. It would be their studio. The idea was to design it so that it was like an analog computer. It was not a musical instrument but it was modular...It was a collection of modules of voltage-controlled envelope generators and it had sequencers in it right off the bat...It was a collection of modules that you would put together. There were no two systems the same until CBS bought it...Our goal was that it should be under $400 for the entire instrument and we came every close. That's why the original instrument I fundraised for was under $500.'
Buchla's design approach differed markedly from Moog. Right from the start Buchla rejected the idea of a "synthesizer" and has resisted the word ever since. He never wanted to "synthesize" familiar sounds but rather emphasized new timbral possibilities. He stressed the complexity that could arise out of randomness and was intrigued with the design of new control devices other than the standard keyboard. pp39-40"
Anyone else thinking Starkey? Coincidentally the recent Starkey went for $541 on the bay. Yeah, I know I'm stretching it...
via Peter Grenader on AH.
Excerpt:
"In contrast to Moog's industrial stance, the rather counter-cultural design philosophy of DONALD BUCHLA and his voltage-controlled synthesizers can partially be attributed to the geographic locale and cultural circumstances of their genesis. In 1961 San Francisco was beginning to emerge as a major cultural center with several vanguard composers organizing concerts and other performance events. MORTON SUBOTNICK was starting his career in electronic music experimentation, as were PAULINE OLIVEROS, RAMON SENDER and TERRY RILEY. A primitive studio had been started at the San Francisco Conservatory of Music by Sender where he and Oliveros had begun a series of experimental music concerts. In 1962 this equipment and other resources from electronic surplus sources were pooled together by Sender and Subotnick to form the San Francisco Tape Music Center which was later moved to Mills College in 1966.
Because of the severe limitations of the equipment, Subotnick and Sender sought out the help of a competent engineer in 1962 to realize a design they had concocted for an optically based sound generating instrument. After a few failures at hiring an engineer they met DONALD BUCHLA who realized their design but subsequently convinced them that this was the wrong approach for solving their equipment needs. Their subsequent discussions resulted in the concept of a modular system. Subotnick describes their idea in the following terms:
'Our idea was to build the black box that would be a palette for composers in their homes. It would be their studio. The idea was to design it so that it was like an analog computer. It was not a musical instrument but it was modular...It was a collection of modules of voltage-controlled envelope generators and it had sequencers in it right off the bat...It was a collection of modules that you would put together. There were no two systems the same until CBS bought it...Our goal was that it should be under $400 for the entire instrument and we came every close. That's why the original instrument I fundraised for was under $500.'
Buchla's design approach differed markedly from Moog. Right from the start Buchla rejected the idea of a "synthesizer" and has resisted the word ever since. He never wanted to "synthesize" familiar sounds but rather emphasized new timbral possibilities. He stressed the complexity that could arise out of randomness and was intrigued with the design of new control devices other than the standard keyboard. pp39-40"
Anyone else thinking Starkey? Coincidentally the recent Starkey went for $541 on the bay. Yeah, I know I'm stretching it...
via Peter Grenader on AH.
Xpantastic ! - New Oberheim XPander Group

Sequential Circuits Studio 440

Rare sampling drum machine with analog filters by Sequential Circuits. More on VSE.
via Matt
Secret of the Ancient Sampler on YouTube
Part 1 (audio comes it at 1:21)
Part 2
The Mellotron of course. Amazing to see how it actually plays in the first clip.
Via Tim. YouTube by btpro.
Part 2
The Mellotron of course. Amazing to see how it actually plays in the first clip.
Via Tim. YouTube by btpro.
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© Matrixsynth - All posts are presented here for informative, historical and educative purposes as applicable within fair use.
MATRIXSYNTH is supported by affiliate links that use cookies to track clickthroughs and sales. See the privacy policy for details.
MATRIXSYNTH - EVERYTHING SYNTH