SH-201 Demo (3/3)
YouTube via RolandChannel
"http://www.roland.com/SH-201/
The Roland SH-201. If youre a synth pro, the SH-201 will remind you of why you fell in love with synthesizers in the first place. Simply, the SH-201 is a blast to play! It sounds great too, thanks to such features as Rolands famous Supersaw waveform, Feedback Oscillator, D Beam, and more. The SH-201 is also equipped with an external input, so you can manipulate your CDs, MP3s, or other external input devices and instruments."
v028302L
SH-201 Demo by David Ahlund 1-3
Wednesday, January 14, 2009
Tuesday, January 13, 2009
drone
YouTube via rag1138
"SYB-5 Bass synth pedal triggering it self, Fed into boss DS-1 distortion pedal. Additional effects from Ableton"
Joel Chadabe
via http://www.chadabe.com/Top: "Performing 'Solo' at New Music New York in 1979. The system on the table is the first Synclavier. The antennas are modified theremins, built by Robert Moog."
Bottom: "Working at the CEMS System, an analog-programmable electronic music system, in the Electronic Music Studio at State University of New York at Albany in 1970."
via Nino
Microcontroller Synth Roundup
"Microcontroller-based sytnhs are a little odd because in general these little chips aren't too powerful; I'm pretty sure a lot of modern commercial synths use rather hefty DSP chips. But they're nice because of their simplicity of design, and I think most audio DIYers are more familiar with microcontrollers than dedicated DSPers."You can find the roundup on The Experimentalists Anonymous Weblog. Included are the AVR based synths and the PICSynth.
sx-150 and sq-150.
YouTube via artrat801
"完成しました。
A handmade, analog sequencer was completed.
Thank you for your cooperation.
The upper row is analog synthesizer sx-150 of Gakken."
Burlap and AANN
Burlap 4 - Phillip Stearns 2006 (pixel form)
YouTube via pixelform.
"http://www.art-rash.com/pixelform
Title: Burlap IV
Artist: Phillip Stearns
Year: 2006
Media: Wood frame, Burlap, Interactive Electronic Components
Notes:
Two tone generators have been programmed to match the pitch of the other. Intervention using various components prevents one from ever quite reaching the other. Shadow falling on the photocells in the middle of the piece will allow the dance of the two pitches to be heard though sometimes they exceed the limit of human hearing in their ascents.
Burlap Series 2006
Burlap is a continuing series of work inspired by Peter Vogel and Marc Nimoy that explores the blurring of the electronic circuit and traditional two-dimensional art forms. Small interactive, physically programmed musical computers have been embedded, woven into a skin of burlap, creating an electronic music composition in the form of a reactive textile. Gallery guests interact with the pieces by casting shadows over embedded sensors. CMOS 4000 series ICs are configured into circuits which produce tones, sequencers, and dynamically behaving oscillators that respond to shadows cast by guests. Each composition explores themes of cyclical and chaotic structures, iterative sequence generation, and dynamical feedback systems. The visual form of the Burlap pieces takes its cues from traditional circuit design and is the result of a dialog between the functions of the different parts of the circuits and the nature of the signals shuttled from one part of the circuit to the next. Weaving the circuits into a canvas of burlap juxtaposes natural construction materials with electronic technologies, and thus presents a challenge to the notion of the circuit as something that is cold, calculated, and non-human. The Burlap itself is used as a semiotically rich signifier indicating, amongst other themes, the historical origins of computing in mechanized weaving, pre-industrial age textiles, and a return to reliance upon renewable natural resources."
AANN (Artificial Analog Neural Network) - Phillip Stearns
"http://www.art-rash.com/pixelform
This is a short documentation clip of AANN from the 2008 Juried Exhibition at the Torrance Art Museum (City of Torrance, LA, CA, USA).
Dimensions: 4x2x2 hanging installation
Medium: Electronics
AANN is an interactive, handmade electronic sculpture that responds to changes in ambient light and sound. The sculpture itself is 45 interconnected, electronic neurons that are actively responding to environmental stimuli in a display of light and sound. Constructing the sculpture in such a way that function and form are keenly interconnected, borrows from the sculptural, musical electronics works of Peter Vogel. Great care was taken in the design of the electronics to accurately mimic biological neural behavior. The resulting form of the piece was influenced in part by layering models used in neural computing, and by Fibonacci based branching found in natural systems. AANN explores the notion of interactivity with electronics by making physical the abstract processes being used by modern computer scientists to solve complex problems in pattern recognition.
The science of robotics seeks to study, mimic and recreate life through the creation of automatons which are ultimately are designed to complete tasks that serve our desires. Here with the creation of AANN, the desire is to explore the possibility of making a thinking thing, one that is allowed to have its own desires. However, in the end what AANN becomes is a sign of the industrial military complex, signifying not only the possibility of the pursuit of such idealistic techno-fetishistic dreams of machine intelligence, but also their very negation through the terminal exploitation of the very life which it seeks to replicate (and eventually replace).
Questions which arose during the course of researching and developing the work branched outwards from the decade old debate about machine intelligence and its potential impacts on society and environment. What is interactivity? What are the preconditions necessary for such interactivity? Does intelligence play a role or is interactivity a generic feature of reality. What is it to think? Is it possible for a machine to think as we do? If it is not yet possible to understand what it is to think and how we humans do it, what is it that drives us to make machines think? Are we too lazy to think for ourselves? How much does structure factor into the functioning of a network both biological and artificial? What are the implications of accepting a networked model of understanding? What is the total impact of technology on society and on the biosphere which supports it? Is it possible for a technological work to affect enough positive change to offset the potential social and environmental damage wrought in its history of development and application? Can technology exist without economies of scale, and if not, can those economies of scale be maintained in an ecologically sustainable manner?"
You can find more here.
YouTube via pixelform.
"http://www.art-rash.com/pixelform
Title: Burlap IV
Artist: Phillip Stearns
Year: 2006
Media: Wood frame, Burlap, Interactive Electronic Components
Notes:
Two tone generators have been programmed to match the pitch of the other. Intervention using various components prevents one from ever quite reaching the other. Shadow falling on the photocells in the middle of the piece will allow the dance of the two pitches to be heard though sometimes they exceed the limit of human hearing in their ascents.
Burlap Series 2006
Burlap is a continuing series of work inspired by Peter Vogel and Marc Nimoy that explores the blurring of the electronic circuit and traditional two-dimensional art forms. Small interactive, physically programmed musical computers have been embedded, woven into a skin of burlap, creating an electronic music composition in the form of a reactive textile. Gallery guests interact with the pieces by casting shadows over embedded sensors. CMOS 4000 series ICs are configured into circuits which produce tones, sequencers, and dynamically behaving oscillators that respond to shadows cast by guests. Each composition explores themes of cyclical and chaotic structures, iterative sequence generation, and dynamical feedback systems. The visual form of the Burlap pieces takes its cues from traditional circuit design and is the result of a dialog between the functions of the different parts of the circuits and the nature of the signals shuttled from one part of the circuit to the next. Weaving the circuits into a canvas of burlap juxtaposes natural construction materials with electronic technologies, and thus presents a challenge to the notion of the circuit as something that is cold, calculated, and non-human. The Burlap itself is used as a semiotically rich signifier indicating, amongst other themes, the historical origins of computing in mechanized weaving, pre-industrial age textiles, and a return to reliance upon renewable natural resources."
AANN (Artificial Analog Neural Network) - Phillip Stearns
"http://www.art-rash.com/pixelform
This is a short documentation clip of AANN from the 2008 Juried Exhibition at the Torrance Art Museum (City of Torrance, LA, CA, USA).
Dimensions: 4x2x2 hanging installation
Medium: Electronics
AANN is an interactive, handmade electronic sculpture that responds to changes in ambient light and sound. The sculpture itself is 45 interconnected, electronic neurons that are actively responding to environmental stimuli in a display of light and sound. Constructing the sculpture in such a way that function and form are keenly interconnected, borrows from the sculptural, musical electronics works of Peter Vogel. Great care was taken in the design of the electronics to accurately mimic biological neural behavior. The resulting form of the piece was influenced in part by layering models used in neural computing, and by Fibonacci based branching found in natural systems. AANN explores the notion of interactivity with electronics by making physical the abstract processes being used by modern computer scientists to solve complex problems in pattern recognition.
The science of robotics seeks to study, mimic and recreate life through the creation of automatons which are ultimately are designed to complete tasks that serve our desires. Here with the creation of AANN, the desire is to explore the possibility of making a thinking thing, one that is allowed to have its own desires. However, in the end what AANN becomes is a sign of the industrial military complex, signifying not only the possibility of the pursuit of such idealistic techno-fetishistic dreams of machine intelligence, but also their very negation through the terminal exploitation of the very life which it seeks to replicate (and eventually replace).
Questions which arose during the course of researching and developing the work branched outwards from the decade old debate about machine intelligence and its potential impacts on society and environment. What is interactivity? What are the preconditions necessary for such interactivity? Does intelligence play a role or is interactivity a generic feature of reality. What is it to think? Is it possible for a machine to think as we do? If it is not yet possible to understand what it is to think and how we humans do it, what is it that drives us to make machines think? Are we too lazy to think for ourselves? How much does structure factor into the functioning of a network both biological and artificial? What are the implications of accepting a networked model of understanding? What is the total impact of technology on society and on the biosphere which supports it? Is it possible for a technological work to affect enough positive change to offset the potential social and environmental damage wrought in its history of development and application? Can technology exist without economies of scale, and if not, can those economies of scale be maintained in an ecologically sustainable manner?"
You can find more here.
011209
YouTube via dkimcg
"Ribbon control of a very opera singerlike voice. Ribbon controls pitch, gate, and the vibrato in the voice."
Doepfer System A-100 & KORK Electribe ER-1
YouTube via inbetweenmovements
"all sounds sequenced by doepfer A161 Clock Sequencer in midi sync - except the electribe drums which are sequenced by ER-1. White noice + Random Volt is producing through the Dual S&H the aleatoric pitches of the notes from the A-100 Delay comes from the boss SP-303 sampler"
DX5 playing Bronski Beat "Smalltown Boy"
YouTube via DX5
"Played on my own way with intro. This is the first take. Backtrack recorded in Pro Tools.
Note some problem when I try to change the voice on the mid DX7 II (It was on edit mode, so I had to exit, then change voice).
Upper: Yamaha DX7 Mk1 (Original Cartridge's Harp preset)
Mid: Yamaha DX7 II FD
Lower: Kurzweil PC1x"
Analogue Solutions Vostok
via this noisebug auction"Full Specs:
All circuits are totally analogue with the exception of the MIDI interface. This is the brand new Version 2 Vostok with 3 analog oscillators and new metal case!
484 Matrix patch panel points / 69 Sockets / 52 Rotary controls / 13 LEDs / 20 Switches / 2 Displays
Dimensions
Dimensions shown do not include feet/handles/catches/corners pieces.
Complete closed case: 274 (H) x 440 (W) x 188 (D)
Lid depth: internal 50mm (enough to leave in patch leads). External 134mm
Control Modules
MIDI to CV Converter
CV1 (pitch) / CV2 (controller) / Gate / Accent / Legato, MIDI Thru, channel select, manual trigger
Joystick
2 way joystick controller
Sequencer
8 step CV & Gate analogue sequencer, range switch, manual step
Audio ModulesVCO1: Saw / Square / Tri waves, Glide, Sync
VCO2: Saw / Square waves, Pulse Width, Glide, Sync, Sub outs
VCO3: Saw / Square waves, Pulse Width, Glide, Sync, Sub outs
Noise: White noise source
Voltage Controlled Multimode Filter
2 Filters based on Korg MS20 circuitry. Independent Cut Off and Resonance for Low Pass Filters and High Pass Filters. The VCLPF and VCHPF combine to produce a 3rd filter type, Band Pass
Voltage Controlled Amplifier
VCA With 1/4" jack audio output.
Ring Modulator: AC ring mod"
PREVIOUS PAGE
NEXT PAGE
HOME
© 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
© 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
