MATRIXSYNTH


Friday, October 08, 2010

Optigan "Musique Concrete"


via the Optigan email list:

"Hi all, just a quick reminder that sound submissions for our upcoming Optigan "Musique Concrete" disc are due Nov. 1st. You can find out more information here.

Also, the Orchestron "Organ" and "Solo Female Voice" discs just went in the mail yesterday, so if you ordered them, you'll have them soon! And if you haven't, we've still got some left, as well as "Violin" and "Pipe Organ," and Optigan "Sitar" and "Surf Rock" discs: [link]

Cheers!
Pea"

Musique Concrete

YouTube via JeffreyPlaide | March 25, 2009

"Musique Concrete is the experimental technique of musical composition using recorded sounds as raw material. The principle uses the assemblage of various natural sounds to produce an aural montage. A precursor to the use of electronically generated sound, musique concrete was among the earliest uses of electronic means to extend the composer's sound resources. Before the days of sampling and computer manipulation of sounds, musicians used analogue tape recorders to record natural sounds and tape splicing techniques. Music concrete uses natural sounds to create aural compositions. This excerpt is taken from the BBC 1979 documentary 'The New Sound of Music'."

Edgard Varêse and Le Corbusier - Poême électronique (1958)

YouTube via mjsebit | September 20, 2007

"Edgard Varêse and Le Corbusier - Poême électronique (1958)"

Mike Hall's & Vince Clarke's EMS Polysynthi For Auction


via this auction

"[The seller is] selling this Polysynthi on behalf of it's owner, Mike Hall, who used to be synth technician for the previous owner of this eccentric electrical item, a certain Mr. Vincent Clarke of Basildon - former founder member of Depeche Mode, and Yazoo, and currently with Erasure.

Mike bought the synth on behalf of Vince in 1990 from the latter day Mr EMS himself Robin Wood (a scan of the letter from Robin confirming which is included in the photos in this listing) but he literally ended up rescuing it from Vince's rubbish skip, after having been both surprised and shocked to hear Vince claim it was 'the worst sounding synth ever made' and had decided to get rid of it. Mike was to be its saviour, and he whisked it away to the safety of his abode - this Polysynthi has subsequently been used by fellow Mute Records artists Komputer (previously known as I Start Counting) who've borrowed it from Mike occasionally, as indeed have I for my own musical exploits.

For corroborative purposes, take a look at this link to the official Erasure website (circa late 1990s), which features an interview with Mike, where he mentions the very Polysynthi for sale here...

Sadly, the time has finally come, and Mike has decided to sell his beloved Polysynthi. Fair enough really, seeing as he rarely uses it himself!

The EMS POLYSYNTHI

Made in 1979 by the legendary EMS, alledgedly no more then 29 were ever produced. Size-wise, it's bloody massive, and it really looks the business, despite its multicoloured, toytown style exterior. It houses the first ever (only?) velocity sensitive, aftertouch responsive 100% POLYPHONIC keyboard - if you've enough fingers and toes, you can play every single one of its 49 notes at the same time. The keyboard has a totally unique velocity sensitivity and aftertouch implementation - the entire keyboard itself moves as one mechanical piece. And, it has to be said, the Polysynthi also has one of the most difficult to fathom control surfaces ever to appear on any synthesizer!

It uses a switchable bus matrix system to determine, amongst other things, the signal and modulation sources, which can also be variably assigned to velocity and/or aftertouch. This switchable bus system on the Polysynthi is quite frankly bonkers. When I've used it in the past, to be honest, there have been times where I really couldn't make head nor tail of what was actually happening - but I'm sure(-ish) that this was probably just my own ignorance of it's more intricate workings!

As you can see from the specifications below, it has a somewhat standard set of synthesizing functions, but it does have some additional useful abilities too. The two ADSRs onboard are also routable and patchable through the bus system, though take some getting used to, and there's an external audio input, routable through the filter section and modulation matrix, as well as a fantastic analogue delay line. This delay was the original design for what became the ElectroHarmonix Memory Man, and produces very peculiar and interesting effects indeed, especially with higher feedback settings - you seriously have to watch out for your bass bins when using it.

It's in really good condition despite it's age, apart from a couple of scratches in the decal, and one cap is missing from a knob on the delay line. We're also including it's very own, high quality, custom-made flight case, so you can take it on the road to wow synth-nerds with at your gigs.

What else can I say? There's nothing else like it. It's weird. It's at times frustrating. It's great though - even if Vince does hate it.

Specifications
4 Octave velocity sensitive keyboard
100% FULLY POLYPHONIC Oscillator Bank - Sine, Square and Triangle Waveforms
Noise and External input with envelope follower
2 x VC LFO
2 x VC ADSR
VCF: 2 pole (12db per octave) /4 pole (24db per octave) resonant filters
Switchable Modulation Bus matrix system
VC Analogue Delay
Designed by Graham Hinton
Delay Unit designed by David Cockerell

(For full specifications, see the included photo of the original promotional leaflet)

Previously owned by:
Vince Clarke

As used by:
Komputer
Mechanical Cabaret
LCD Soundsystem"

EMS Synthi Sequencer256 For Sale

flickr set by rick403
(click for more)

This is for sale. If interested contact echo7even at yahoo.com

"Rare EMS Digital Sequencer - 1971

3 Layers (or tracks) with Key Voltage, Velocity Voltage and Key (gate)

4th layer called "Key 4" is a trigger control track used for system clock control (stop/reset) etc.

Before repair and restoration."

inside an EMS Sequencer 256

Pittsburgh Modular: Timetable


flickr By Analogue Haven

more info via Muff's:

"Coming Soon...

The Pittsburgh Modular Timetable is a combination of a basic clock divider (the left hand section) and a voltage controlled pattern generator (for lack of a better term).

The divider produces quarter, half, whole & double whole-note divisions of the input signal. The patterns generated in the 2nd section range from the simple (or mundane, even an exact replica of the divider outputs) to the convoluted, depending on several factors - some adjustable in real time, some not.

Even in its basic configuration the Timetable is 'bent by design' it takes advantage of what could (should?) be considered errors to provide variations and unpredictable (but not random or chaotic) changes... all tied to a clock. The user can also take the "bends" further by swapping out one, or both, of the CMOS logic chips in the core of the circuit. Changing the logic chip changes the functionality of the Timetable creating a new set of behaviors to explore.

The primary intention of Timetable is to provide timed events, both predictable & inconsistent... a little like the average public transport system.

In practice, you can use the module to provide a set of straightforward divisions or as a whacked out gate spewing lunatic... and of course something, somewhere in the middle. It loves feedback. Sending one of the many outputs back into its CV or Digital control inputs will make it jerk and twist. A Binary system that sometimes gets stuck somewhere between 1 and 0.

Here is some audio of the Timetable in action. A basic oscillator and filter are used with the Timetable in this demo. The pitch of the oscillator, frequency of the filter, and the divider within the Timetable are all CV'd from different voltages available on the Timetable.
http://dl.dropbox.com/u/252415/UNC_SEQ_TT_RND1.mp3

Complete sets of CMOS chips will be available separately so it will be easy to try different combinations of logic. The sets will include a pair of 5 different logic chips. (NOR, NAND, XOR, XNOR, AND).

The Timetable was designed by Thomas O'Connor (DGTom on Muff). His designs are a unique combination of utility and chaos. A perfect match for the VILFO! If you check the Muff archives, he has published a few of his great designs in the Music Tech DIY section. I am excited to have him on the team!
_________________
www.pittsburghmodular.com"

Code Remote Script

Code Remote Script from Livid Instruments on Vimeo.


"Just another little Friday mix testing the remote script in Live. The music isn't the focus here people, the script is, and it works great!"

" Time Run " Electronic Impressionen Part II


YouTube via Korgator | October 08, 2010
part 1 here
"1.Korg Triton Le 61"Pad"
2.Polymorph "Mellotron"
3.Start the Sequence from Roland JP 8080
4.play Solo with the Korg Mono Poly"

Fejld - Music for Droning (Test of an ambient patch for live playing)


YouTube via copenhagennoiselab | October 08, 2010

"Each vertical column of buttons on the Monome is sending a midi-CC, increasing from the bottom to the top. On this patch they control the amplitude of a sine-wave-oscillator pair on a Nord Modular G2. I have 6 of these pairs setup for the six columns on the left. The last two columns control reverb-time and base-pitch. I'm using 64faders on Monome.

You can listen to more Fejld at:
http://soundcloud.com/kuf-records/fej..."

FOLKTEK ARTS Midi Drum Scape


via Folktek Arts where you'll find more pics and a link to more posts.

"The Drum Scape by Arius Blaze. This version is expanded upon and has the ability to recieve simple on/off midi messages for proper synchronization. The jacks also allow for the midi to be connected to any other folktek work with trigger jacks. Expanded delay controls include tap tempo, notated tight and reverse delay styles. Very big drum sound and sweet synth drone."

Folktek on Ebay

Oraison

Oraison from Richard Lainhart on Vimeo.


"From the time I first touched the Haken Continuum, I'd wanted to use it to play a composition by Olivier Messiaen called "Oraison". I first heard "Oraison" years ago as a student of electronic music, and had fallen in love with its simple, beautiful harmonies and profound sense of mystery.

"Oraison" is not only a lovely piece of music, but has historical interest too - it may be the first piece of purely electronic music written expressly for live performance. Also of note is that Messiaen re-arranged "Oraison" for cello and piano and used it for the fifth movement of "Quartet for the End of Time", which he composed in a German prisoner-of-war camp in 1941; the "Quartet" is one of the great classics of 20th-century music.

"Oraison" ("prayer") is from a suite of pieces for six Ondes Martenot called "Fete des Belles Eaux" ("Celebration of the Beautiful Waters"), composed for the Paris International Exposition in 1937. The Ondes Martenot was among the first electronic instruments, and is still among the most expressive. The Continuum's own expressive qualities seemed at least the equal of the Ondes Martenot's, while allowing for polyphony and the possibility of performance of the work by a single player. I transcribed "Oraison" for my Buchla 200e/Continuum system, programmed the modern system in homage to the sound of the Ondes Martenot, and now offer this performance to you.

Oraison, composed by Olivier Messiaen in 1937 for six Ondes Martenot, transcribed for Buchla 200e synthesizer and Haken Continuum Fingerboard controller and performed by Richard Lainhart in 2009."

Akai VX-600 demo (2 of 2) by syntezatory.prv.pl


YouTube via Jexus | October 08, 2010

part 1 here

"Demo of 1988 Akai VX600. All sounds programmed by WC Olo Garb. Video editing by WC Olo Garb.

Syntezatory.prv.pl Videos: showing you not what a synthesizer can do, but what a man can do with a synthesizer."
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