MATRIXSYNTH

Seventh

Seventh by alienrobotdance
"A Tr 707 jam I reworked into a track.

Lot's of juno 60 and JX3P in this song."

Trash_Audio & Xart Synth Meet 9 Pics by Ma-chew

sfSoundRadio: Live Broadcast of Alvin Lucier's "Music on a Long Thin Wire"

This one in via Brian Comnes:

"APRIL 8-12 2011
sfSoundRadio presents a continuous broadcast of

Alvin Lucier's "Music on a Long Thin Wire" (1977)

duplicating the historic 5-day radio broadcast from a shopping center in Albuquerque, New Mexico, 1979.

Realization by Tom Duff, from his backyard in Berkeley, CA.

http://200.35.148.107:8000/listen.pls (to listen iTunes, etc)
http://sfsound.org/radio.html (to listen in web browser - or follow instructions to listen on IPhone)

http://en.wikipedia.org/wiki/Alvin_Lucier
http://en.wikipedia.org/wiki/Music_On_A_Long_Thin_Wire
http://en.wikipedia.org/wiki/Tom_Duff"

via wikipedia:

"Music On A Long Thin Wire is a musical piece by Alvin Lucier conceived in 1977.

In his own words (1992): 'Music on a Long Thin Wire is constructed as follows: the wire is extended across a large room, clamped to tables at both ends. The ends of the wire are connected to the loudspeaker terminals of a power amplifier placed under one of the tables. A sine wave oscillator is connected to the amplifier. A magnet straddles the wire at one end. Wooden bridges are inserted under the wire at both ends to which contact microphones are imbedded, routed to the stereo sound system. The microphones pick up the vibrations that the wire imparts to the bridges and are sent through the playback system. By varying the frequency and loudness of the oscillator, a rich variety of slides, frequency shifts, audible beats and other sonic phenomena may be produced.'

However, Lucier admits a long thin wire is only used to impress, a short thin wire would have worked as well if not better, and he discovered that the best way to produce variation in the sonic phenomena was to pick a setting and leave the setup alone. He praised David Rosenboom for his ability to pick interesting settings.

It has been exhibited:

1979, Winrock Shopping Center, Albuquerque, and broadcast uninterrupted on KUNM-FM for five days and nights
1980, Landmark Center, Saint Paul
1988, Gallery of the Center for the Arts at Wesleyan, Middletown, CT"

audioMIDI.com Presents The M-Audio Venom, Part Two

YouTube Uploaded by audiomidicom on Apr 8, 2011

"Synth expert Mitchell Sigman talks about M-Audio's new Venom virtual analog synth with integrated audio interface. Get Venom at www.audioMIDI.com!"

Part 1 here

Altair-4 The SciFi Sounds Lab DemoVideo

YouTube Uploaded by HGFSynthesizer on Apr 8, 2011

"Altair 4 - The SciFi Sounds Lab
is for spacey & wobbly stuff, drones and scapes i.e SciFi FX-sounds, and it is quite good at doing bell like sounds too.

The movie Forbidden Planet from 1956 being the first movie with a complete electronic soundtrack (by Louis and Bebe Barron) using sounds that could have been done with this plug.
"This instrument does do a lot of the things the Barron's did with their circuitry albeit a lot easier".
"It makes sciFi sounds & noises and everybody will reminiscent to a old soundlaboratory of the 50/60ties".
Anyway Altair 4 puts it to a modern level.

Hence the name of this plugin Altair 4 as this is the Forbidden Planet in the movie ;-)"

"Regeneration" making.....「再生」：メーキング

YouTube Uploaded by btpro on Apr 8, 2011
Mellotron and Crumar Stratus come in at 7:12. See this post for the complete track.

"Making scene of 'Regeneration'.

Originally released from Columbia Record as "Juma/Legend".
"Juma/Legend" is SF story written by Wakako Mizuki.
She won a lot of prizes.

アルバム「樹魔・伝説」から「再生」の制作過程です。
オリジナルバージョンはコロムビアレコードから発売されていました。"

Yamaha Cs15 Vintage Duosynth

via this auction

Yamaha TX16W Sampler Typhoon

via this auction

"YAMAHA TX16W Digital Sampler / MIDI Sound Module... Typhoon operating system is installed."

You can see a video of another TX16W with Typhoon OS here.

via wikipedia and NuEdge Development: "Typhoon is a replacement operating system for the Yamaha TX16W sampling synthesizer. The first version was released back in 1994 and it quickly became the obvious choice of operating system for the TX16W community. For years they had struggled with a slow and clumsy sampler. With the introduction of Typhoon OS these days were blown away for good. Not only did Typhoon improve the stability and speed of the TX16W; it also provided features that were comparable to or even surpassed those found on the top samplers at that time.

The main benefits of using Typhoon compared to the original Yamaha operating system are:

Typhoon is easy. The user interface is well structured and extremely consistent which makes learning and using Typhoon a breeze.
Typhoon is fast. For instance, the startup time is merely 20 seconds. All menus are loaded into system memory so access to different functions is always instant.
Typhoon is small. Compared to the Yamaha OS, Typhoon requires almost 500kb less in waveform memory. This is in effect one third of the 1.5Mb that the TX16W is equipped with as standard.
Audio file compression to save time and space (30 to 60% savings).
Automatic loop finder, pitch tracker and wave trimmer.
Destructive editing (death of the edit buffers).
Dynamic voice allocation (with priority possibilities).
Eight free modulators per channel with 14 sources and 12 destinations.
Incremental saving allows you to save only modified data.
Intelligent file system (handles multiple versions of a file, keeps track of where files are stored etc...).
Monophonic portamento mode and several other new playing modes.
New 25 kHz sampling rate.
New voice architecture with groupable parameters and much more.
Object oriented management of items (create, rename, copy, swap and delete).
Pre-triggered sampling threshold (prevents loss of transients).
Reads and writes AIFF format files (accepted by most sample editors).
Resample utility for any sampling rate between 3 and 50 kHz.
Stereo mode with pan parameter (requires two channels).
Stereo waves treated as a single wave.
Two independent LFOs and two four-stage envelopes per channel.
Up to 250 performances, 250 voices and 250 waves in memory.
Up to four times faster loading and saving.