Sunday, March 02, 2008
Evolver vs. Freqbox
YouTube via Analogger
"This is a patch I came up with on the Evolver and synced it to my sequencer. Jomox M-Base for the bass drum, the snare and hi-hat are from a Roland SH-32. The Virus is used for a basic arpeggiation. Also included: Roland MKS-30 along with the Moogerfooger Freqbox oscillator thru the Moogerfooger Lowpass Filter. The Strat is thru a Damage Control Demonizer. The Korg Kaoss Pad is set to a synth patch.
For the Freqbox I patched the oscillator out into the Lowpass Filter. I tuned the oscillator to E and wrote a stepped pattern for the midi-to-cv converter which step-modulated the filter cutoff frequency. Control the voltage!
The idea for this started with the patch I created on the Evolver. It never ceases to inspire something musical and/or strange."
Waldorf Blofeld
"Blofeld features:
Unbeatable price tag
sturdy Metal Enclosure
7 endless stainless steel Dials
Graphic Display 128 x 64 pixels, b/w, white background LED
more than 1000 Sounds
3 Oscillators per voice
Frequency Modulation between the Oscillators
All Q Oscillator Models
All Microwave II/XT/XTk Wavetables
2 independent Multi Mode Filters per voice
Filter FM
2 Drive stages per voice with selectable Drive Curves
3 fast LFOs per voice
4 fast Envelopes per voice
powerful Arpeggiator
freely programmable Arpeggiator Pattern with up to 16 Steps per Sound"
Rhodes Chroma SPU Replacement Kit

The purpose of this kit is to replace the existing power supply unit, subject to some component tweaks, with a new one, as detailed previously by Don Tillman"
click here for more info on the Rhodes Chroma site.
Saturday, March 01, 2008
Keytars! On KAADA WRONGROOM

Top down (fill in the gaps):
Weltmeister Basset
?
MOOG Liberation
?
Yamaha KX5
I've seen the two I can't ID before, but I forget...
Richard Lainhart Releases A New Album on Ex Ovo

An excerpt from White Night can be found at www.aalfang.de.
________________________________________

________________________________________
Richard talks about the work's origin:
" "White Night" was composed and recorded in the late fall of 1974 at the State University of New York at Albany in the Coordinated Electronic Music Studio (CEMS). CEMS was created by my composition teacher Joel Chadabe with design and custom fabrication by Robert Moog and was, at the time, the largest integrated Moog modular synthesizer studio in the world.
"The piece consists of a dense, continuous four-note chord, each note in the chord recorded in a separate pass to one track on a Scully 4-track studio recorder. Each track consists of a single sine wave oscillator which is frequency modulated by a group of eight additional sine wave oscillators. Those oscillators are all tuned to different tones, each harmonically related to the fundamental chord tone. The amplitude of each harmonic oscillator is continuously varied under the control of an individual sequencer, and each sequencer is free-running - that is, the sequencers are not synchronized to each other, but rather running in their own independent timebases.The result is a continuously-changing complex harmonic waveform which modulates the frequency of the chord tone oscillator, generating a continuously-changing complex timbre based on the fundamental pitch of the note.
"The center tone of "White Night" is 212 Hz, slightly higher than the G below Middle C. The other notes create a chord consisting of a perfect fifth below the center tone, a major seventh just below the center tone, and a major second above the center tone. "White Night" was composed without reference to the standard A-440 tuning system, as we had no such pitch reference in the studio; I just picked a center tone that felt right, and went from there. As such, "White Night" lives in its own pitch world.
"The title "White Night" came about so: it was late December in upstate New York when I was finishing the piece, and a blizzard passed through town the night of the final mix. As I sat in the glow of the sequencers and tape decks in the University studio listening to the final version, I looked out the window and saw a security light on a building opposite the studio illuminating the blowing snow as it drifted off the roof. All I could see was the snow swirling in the light against the blackness; a moving painting continually drawn, erased, and redrawn, always changing, but always the same. It may sound bleak, but it wasn't - it was beautiful. It seemed to me that the image of the dancing whiteness perfectly matched the sound of the piece, and so I called it "White Night" to commemorate that evening of wind and snow."
________________________________________

'2008 marks my 40th year as a musician.'"
Vintage Roland Xperience
YouTube via eljuanlux. Audio starts at about 1:17 and picks up.
"This track has been made with the following Gears and devices:
- TR 909
- TR 808
- TR 707
- TB 303
- Mixer Mackie Onyx 1640 Firewire
- Alesis Multieffects 16 bit digital signal processor
I hope u enjoy with this acid track.
The Bassliner"
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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