Ted Nugent's worst nightmare

flickr by Nowhere Nevada

Anyone know what that is on the top right?

Bleep Labs Thingamagoop 2 at BCM

YouTube via bigcitymusic
"The Bleep Labs Thingamagoop 2 has arrived and it's super-fun! The goop 2 has all the features of the original plus more. It has digital and analog oscillators, an LFO to modulate pulse width with square and triangle waveshapes, the ledacle with photo-sensing nose. It also has a dc power inlet, 1/4" audio out, a cut switch, program in. Wait! It also has CV in and out so you can control it with an external sequencer or have the Thingamagoop control your analog synths! Whut? Yes. Available now."

ROLAND SH7 & SYSTEM 100 SEQUENCER.

YouTube via mopipi2

Perspicacity - modular analog synth improv

YouTube via doctorvague
"Tags: music electronic synth synthesizer doctorvague symthesizers.com Modcan Moon Modular Suit and Tie Guy STG"

Low Pass Resonance

YouTube via inanaloghaze
"Self-Oscillations with the Moog Moogerfooger 101 Low Pass Filter. Also used is the 103 Phase and 104z Delay. No CV at all"

MIDINES Demonstration

YouTube via narki86
"A short demo with NES + Midines 1.1.0 ran through KP3 being sequenced by Ableton Live 8.'

MOV03602 - Intua Beatmaker

YouTube via xgee1. Anyone ID the app?

Update via Bob Borries in the comments: "It's called "Beatmaker" I was going to buy a MPC-500, but for what I need this suits me fine."

Intua Beatmaker on iTunes:


via the Intua website:


Mobile sampler interface
In your pocket, ideally suited for live or for fast, intuitive composition, the 16 multi-touch pads enable you to load, slice, tune, and trigger sounds from an extensive sample library. Live pattern recording and sound control with the simplicity of a finger movement


Lay down your ideas. All your ideas
Experience BeatMaker step sequencer for creating your grooves. The tactile editor makes music composing really quick and easy while keeping a precise synchronization. Limitless patterns, endless possibilities, delivered on tune and on time.


Create your song while performing live
Arrange your song snippets to your liking, loop and improvise in real time all the building blocks of your tune into something meaningful.


Enhance, alter, add new perspectives
Give a new impulse to your sound material using audio effects. BeatMaker provides two independent effect channels including synchronized delay, 3-band EQ, and the famous "Bit-Crusher". You can apply new rhythmic pattern to your drum loops, change textures and frequencies and recreate the lovely vintage sound.


Record your own sounds
Record new sounds wherever you are, and use them instantly in your compositions ! (Only on iPhone and iPod Touch 2nd Gen models)

Packing things up for another ride

Time to pack your bag and move on? Want to use that drum kit in another song? BeatMaker lets you load and save your sound kits and projects at anytime.


Synchronize and update your personal library
Thanks to BeatPack, the free BeatMaker synchronization companion, you can easily expand your audio library. Share your personal audio samples from your computer directly into BeatMaker. Bringing your sound material everywhere has never been so easy !

Great tune ? Pass it on
Export your piece to one audio file, share it, or just re-use it as another sound base for further compositions. BeatMaker also allows you to export your songs to MIDI files, that you can later import into your favourite desktop sequencer.

Ralph Dyck / Paul Horn TRANSITIONS Studio Session

YouTube via peahix
"Ralph Dyck in the studio with the Roland MC-4 sequencer and Jupiter-8 synthesizer, working on his composition "Transitions" for Paul Horn. More info about Ralph Dyck can be found at http://www.rolandmc8.wordpress.com"

Pacific Northwest Modular Manufacturers to Present in PNW Division of AES

via the Pacific Northwest Section of the Audio Engineering Society:

"Meet the Seattle Area Modular Manufacturers

Wednesday, February 17, 2010 - 7:30PM
Microsoft Studios
4420 148th Ave NE, Redmond WA 98052, Building 127

Our February meeting features some of the rising stars of the new wave of Modular Synthesis giving demonstrations of some innovative new products as well as showing off some of the more tried and trusted, but never completely predictable, modular delights. This will be a great opportunity to play catch-up for those of you who may be new to the world of modular synthesizers - a world of infinitely variable possibilities that started in the early 70s when modular synthesis was pretty much the only way to go. If you're old enough, think back to the Buchla, Moog 900-series, and the ARP 2600 synthesizers. If not...

In the beginning, there were several separate modules, each responsible for a specific aspect of sound creation: Voltage Controlled Oscillators (VCOs), Voltage Controlled Filters (VCFs) and Voltage Controlled Amplifiers (VCAs). It wasn't too long afterwards that Low Frequency Oscillators (LFOs), Sequencers/Arpeggiators, and Envelope Generators joined the party, creating a broad range of wonderful synthesized sounds. The flexibility of such a system was tremendous - primarily because the modules were connected together by patch cords, encouraging sound exploration and design. That flexibility came at a cost - complexity and price. The modular synths of the day were well out of range of all but the most serious musicians and academia. In addition, the different manufacturers had proprietary sizes and interfaces for their equipment.

This complexity led to an integration of functionality - the standard modules and patches that create sounds were put together and pre-patched, with control mainly of the parameters of the components, but not their order/configuration... These units incrementally came down in price until the pendulum swung furthest in the mid to late 80s. Here we had synthesizers whose human interface consisted of a couple of 7 segment LEDs and a data slider. The majority of the "patches" (named for the earlier use of patch cables to build a sound) were pre-set and canned. Much of the joy the synthesist derived from creating and manipulating their own sounds in real time evaporated. On the other hand, for live performance, a synthesizer with presets was really the only practical solution, because there was no way for a modular synthesizer to change patches quickly during performance.

Fortunately, with lead of several visionaries in the field, modular synthesis has been revived and the costs have dropped enough to become accessible to the general audience. There are new modular standards that provide opportunities for many manufacturers to make modules that interoperate seamlessly and inexpensively. On February 17th, we'll meet several of those manufacturers. Come and learn the history, state of the art, and future trends in modular synthesis.

Confirmed guests include:

* George Mattson, Mattson Modular www.mattsonminimodular.com
* James Husted, Synthwerks www.synthwerks.com
* Kevin O'Neill, Flight Of Harmony www.flightofharmony.com
* Scott Rise, Division 6 www.division-6.com
* Sebastian Jaeger, The Harvestman www.theharvestman.org
* Performance by Stephen Jones member of Red Martian http://redmartian.com

Interviews with the featured guests and more information about the new wave of modular synthesis can be found on electronicmusic.com

Steve Turnidge
AES PNW 2009-2010 Section Chair"

A dark, scary place

YouTube via Beatprisoner
"New live recording from my KFEE - Klanglabor für experimentelle Elektronik."
"Tags: Musik Modular synthesizer Klanglabor für experimentelle Elektronik Cwejman BLD MX-4S TipTop Audio Z3000 FM sound beat bratz doepfer cwejman modular S&H Döpfer Patch"

BLeeDing shalm

"This patch-video might remind you at the "PLL Arabesque" video from boobtube356. And yes, indeed there is a PLL involved in this patch as well, but it's not the PLL forming the main character of this patch. You can see and hear that the PLL output initially comes in at about 1:00. What you hear before is just the output from the Cwejman BLD, nothing else (beside some reverb of course).
The BLD is being controlled by an A-155 sequencer. As the BLD has inputs for both Attack rates as well as for both of the Relase rates, these are being driven by a Doepfer A-143-1 Complex envelope generator running in AD-mode. The mixed output of this module also defines the first note of the A-155 sequencer.


The "arabesque" character of this patch mainly comes from a high glide setting of the A-155 sequencers Post-output. The shalm like sound is caused by proper setting of the BLD.

The intermittent "screaming distortion-like" effect is achieved by triggering the sequencer with a clock in audio range (the square output from the PLL) from time to time (switching between PLL-LFO and the A-154 internal clock using a A-150 VCS)."

Blubber Paule

"News from my KFEE (Klanglabor für experimentelle Elektronik).

This session has been performed and recorded without any Computer or MIDI-devices. Only some outboard equipment has been used on the final signal (compression and reverb).

Unfortunatly the cam's mic does not have a very good frequency range so the bassdrum has not been recorded very well.

The starting sound comes from a sequenced A-112 Wavetable Oscillator which will be faded out when the main sequence comes in. The main part of this patch is the combination of an A-155/A-154 Sequencer and Controller, a quantizer and a SQ8 Sequencer which is transposing the sequence by using the A-156' transpose input). The A-154 mode will be switched between forward and pendulum by a LFO. On top of this there is a Heisenberg generator which is responsible for changing the number of steps between 1 and 8 by random (very slowly of course).

If you are wondering whats in the lower left corner of the rack (which you can't see in the video): nothing more than a A-164-1 Manual Gate which is being used to reset the sequence manually (and to start/stop the sequencer itself).

The VCOs being used are two TipTop Audio Z3000. The first one is generating three different waveforms which are being mixed together. The second one is acting as a suboscillator. "