MATRIXSYNTH

moussaka

moussaka.mp3 via Stefan Trippler
"Just some bars of Largo with Stylus RMX describing my state of mind having
spent the first 2 days (and a night) in the office after my holidays ;)"

via Sentience Studio
"Say what you will but mastering the art of analog synthesis requires fluency with the sequencer, in particular, the Moog 960 sequential controller and related components (Roger Arrick and synthesizers.com make a spot-on replica). Part of the performance ethic of analog synthesis is to be able to execute operations in real time, so the sequencer is essential. I venture to say though that only a few synthesists can claim this expertise. The most important components associated with any sequencer are a tuner and a quantizer. Without these it is not possible to intonate the synthesizer properly so it plays with other instruments. I am amazed how many people try to run sequencers without them, surely with unsatisfactory results.

For reasons unknown quantizers are in short supply. Moon Modular makes an M565 quad quantizer. Bruce Duncan and Modcan make a 55B dual quantizer (which locks perfectly) and Doepfer makes an A-156 dual quantizer.

Tuning the synthesizer is a two-step process. First one must tune the oscillator to A=440. Then one must tune the sequencer so each step plays the desired note. I prefer a precision tuner such as the Peterson 490.

There are of course dozens of sequencers. The “first generation” ones (e.g. the Roland 104, the Sequential Circuits 800) are an assortment of knobs regulating control voltage. The “second generation” ones (e.g. the Roland CSQ-100, CSQ-600, MC-8) store notes in memory and in principle don't require tuning, although frequently they do. In such event only the oscillator needs to be tuned.

Recently I experimented with a new sequencer, the FutureRetro ORB. Once one masters the procedure for entering notes and looping patterns one can create a variety of interesting outcomes. Linking several together makes it possible to sequence harmonies. Although I am dubious about using MIDI in this configuration the Synapse router makes it possible to cycle through different filter combinations using predesignated addresses. The Peterson StroboStomp makes a good companion for tuning (although my advice is not to «stomp» on it). Here is a picture of how this concept was implemented using an intermediate-sized Blacet/Wiard system. To illustrate the basic signal path clearly not all modules are in use and some patch cords have been removed (e.g. CV processors and filters to mixer). Thanks to the manufacturers of this fine equipment for their creativity and ingenuity."

Audio Touch D-Touch

Audio d-touch is a collection of applications for real-time musical composition and performance, with very special user interfaces. The collection includes a drum machine and a sampling sequencer, both are controlled by spatially arranging physical objects on
an interactive table surface. Each object represents a sound, and its position with respect to the surface is mapped to certain playback parameters. For example, the horizontal position of an object represents the timing of the sound. The system is extremely low cost
and now it can be freely and fully downloaded from http://www.d-touch.org/audio. All is needed to get audio d-touch to work is a standard computer (PC or Mac) with a webcam and a printer.

The audio d-touch interactive surface consists of a simple printed piece of paper. The movable physical objects are marked using labels, also printed on normal paper. The computer observes the blocks and the paper through a low cost web-cam, and thanks to the d-touch marker recognition algorithm it can localize them precisely. The information about the position and orientation of each block is used to control a digital audio synthesis process. The system was designed to be extremely low cost, robust and easy to set up, which makes it possible to fully and freely release it for download.

In the research field of computer interfaces the audio d-touch interface is known as a tangible user interface: physical objects are used for the control and representation of digital information. While tangible interfaces have been well known in academic research circles for some 15 years, audio d-touch is the first attempt to make them accessible to a larger audience, requiring only products that are available in any local computer store. Audio d-touch allows people to set up and to use tangible interfaces in their own home, office, recording studio, or wherever else they like.

The release of audio d-touch is itself part of a research project about novel computer interfaces. Our aim is to advance the field by gaining insight on how tangible interfaces may be used in the real world. Please help us by trying out the applications, letting us know what you think and spreading the word about audio d-touch! To inform our research we remotely record usage data from the system, in the respect of our users' privacy: we do not record images, but only the positions of the objects in the interface and the sounds recorded on them (all details are available on the download page on d-touch.org).

The design of audio d-touch was inspired and motivated by a passion for electronic music (electronica) and minimalism shared by Enrico Costanza and Simon Shelley: the
collaboration resulted in the incredibly fast production of a number of prototypes in 2003, thanks also to the great encouragement that they received from the Media Engineering Group at the University of York. In the following years Enrico continued to develop audio d- touch as a side activity, while his day job as researcher at Media Lab Europe and MIT Media lab focused on mobile devices. Part of the original d-touch recognition system was adopted by the colleagues and friends developing Reactable at UPF in Barcelona. In 2006 the Italian composer and cellist Giovanni Sollima became interested in the sequencer and has used it in a number of public performances right up until the present day. In early 2009 Matteo Giaccone and Olivier Küng joined Enrico, who in the meantime had moved to the Media and Design lab at EPFL, and their enthusiasm and technical contribution was key for making audio d-touch truly multi-platform and available for download.

For more information, high resolution photos, videos, and to download the full working
system please visit http://www.d-touch.org/audio.
August 17 2009"

some videos previously posted:

d-touch drum machine and sequencer

YouTube via audiodtouch. more vids
"2 low cost tangible interfaces for music fully and freely available for download. More info and installers at: http://d-touch.org/audio"

d-touch Drum Machine with walnuts

YouTube via audiodtouch. follow-up to this post.
"Build a drum machine using walnuts and d-touch drum machine
More info at: http://d-touch.org/audio"

d-touch Drum Machine

YouTube via audiodtouch
"Promo video of d-touch Drum Machine, a low cost tangible drum machine!

More info at: http://d-touch.org/audio"

keyboard cat papercraft tribute

YouTube via tubbypaws. sent my way via Steve. if you missed the reference see these.
"this is the happy papercraft keyboard cat assembly instruction video. please watch the happy video for instructions and things to see and do and scary, please don't blink.

(warning this video contains flashing imagery)

you can find the papercraft patten here-
http://tubbypaws.blogspot.com/2009/08...

please enjoy^-^

papercraft, artwork, animation, music and photography by tubbypaws"

RARE Synth BOOK Korg M1 Guide Book

via this auction
"Super-necessary, UBER-RARIFIED Synth. BOOK titled "Guide Book M1 KORG Music Workstation"
Pages: a bunch (they aren't numbered)
ISBN: Not Applicable -- This Book was NEVER INTENDED for retail sale!
Cover Price: Not Applicable -- This Book was NEVER INTENDED for retail sale!

This "Guide Book" is full of pages showing every M1 screen, every Parameter, and the range of values each parameter can take.

At the bottom of most pages is an "E" number and a "J" number.
The first page explains the "E" number as the "Owner's manual page reference;"
and the "J" number just has a bunch of Japanese characters after it, which I can't read.
I ASSUME the "E" means English, and the "J" means Japanese, so I ASSUME the "J" number is the "JAPANESE Owner's manual page reference."

Atomo monosynth

via this auction
"Atomo monosynth - meaty oscillator with lfo for assorted mod'ing . 8 step sequencer with 5volt trigger input mod . I had it hooked up to my mpc-60 for some dirty base-line action and patched to my E-mu Drumulator Pad Programmer for live percussive hits . Step led's are hi-brite blues , and the LFO led is hi-brite red . Runs off 110V - so you'll need a step down transformer to run it here . Instructions are included . Bullet proof packaging is a given . I don't mind how payment is made but the synth will not be shipped until payment hits MY bank account . This is one of the first run Atomo synths , hand built in Peru ."

Deadmaus on K2000

flickr by BastArd StarFiSh

low frequency entity - subcycle labs

low frequency entity - subcycle labs from christian bannister on Vimeo.

"a real-time multi-touch interface to a visualized low frequency sound. the various touch configurations control different parameters of the synthesized bass including filter modulation rate, bit crush, sample and hold, feedback, oscillator phase and fm synthesis. more info at subcycle.org -"

low frequency entity 2 - subcycle labs from christian bannister on Vimeo.

The Police and Their Synths

some scans in via khoral

"Andy Summers' Police 1980-1983 photo book... Minimoog, Prophet 10 and I guess OB-Xa..."

Andy Sommers on Amazon

Update the title of the book is "I'll be watching you. Inside the Police 1980-83"

found it on Amazon

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