"All songs created using Minitaur Analog Bass Synthesizer.
Minitaur is a compact and powerful analog bass synthesizer that features a classic one knob per function design. It packs legendary analog Moog bass into a package designed to fit seamlessly into today's performance and production environments."
via this auction "Traditionally made in a standard depressing military-type green color, this one is a gorgeous egg-shell or pearl white. It is hard to appreciate from a picture how beautiful this instrument really is... If you are looking up this auction, it means you know about this baby, but let me remind you anyway: it has 3 VCO's, an LFO, a mixer, a RM, a dual multi-mode filter, 2 EG's and a dual VCA. It is normalled in the traditional vco-vcf-vca fashion, but has patch points which can override the internal wiring, for true modular configuration. Comes with manual and original box. It runs for $3599 new"
Improvised live looping jam with analog keyboards and USB controllers. Equipment used: Lemur on an iPad 2, Akai MPD26 controlling NI's Kontakt, Oxygen 25 controlling NI's Massive, DSI MoPho, Novation Launchpad, Akai APC20, Lemur on an iTouch, and a Fender Rhodes. The Rhodes is running through an MXR Wylde Overdrive. All audio is run through a PreSonus 1818VSL connected to a Macbook Pro running Ableton Live."
You'll find the banner on the right under the Artists section.
"mm:mm is what happens when you try to silence a massive collection of synthesizers; they soak through your skin and work themselves onto your airwaves.
they saturate--- even supersaturate-- your thoughts and may begin to take over.
similarly, manmademadman seeps into you and will eventually control you. this is expected behaviour.
matrixsynth, you control manmademadman."
video description:
"this is the first video for the mm:mm single "touch"
lyrics:
please digitally alter me
please radically misquote me
And id thank you to force me
in a box most pleasing to you
digitize me, finalize me, normalize me,
to no end
recompress me, undermine me, redefine me,
once again
im just feeling for a touch
im just doing it again
am i asking for too much?
getting underneath your skin?
//////////////////////////////////////////////////
come along you suits and ties
here is where the bodies lay (lie)
cover up your suits and ties
here is where the bodies lay (lie)"
"In 1992 Doepfer released their version of a General MIDI (GM)-compatible MIDI Expander, the GMX-1.
It was Doepfer's attempt to offer a fairly cheap alternative to the popular Soundblasters, LAPC's and other cheap GM-compatible modules like the Roland SC-7.
The GMX-1 was (based on) a Dream mainboard - you will also find this module as Dream GMX-1 mentioned in old magazines - Future Music rated it 86/100 in issue 4, page 41 )"
Though the Calloways' production skills -- later used to full effect on tracks by Natalie Cole, Gladys Knight, and Teddy Pendergrass -- had pushed Midnight Star into the R&B charts during 1981-1982, with singles like "Hot Spot" and "I've Been Watching You," the group was unprepared for the success of the first single from their third proper album, No Parking on the Dance Floor. "Freak-a-Zoid" hit number two on the R&B charts in mid-1983, and though it failed to make the pop Top 40, it pushed the LP over the platinum mark. "Operator," the first single from their next album, Planetary Invasion, became their highest-charting single, making number 18 on the pop charts. By 1986, Headlines had become Midnight Star's third album to at least sell gold, but it proved their last; both Reginald and Vincent left the group to form Calloway in 1988. (Incidentally, the Calloways had introduced future legend Babyface to Solar executives for his first job, and produced Babyface's group the Deele).
Without Reginald and Vincent Calloway to lead the way, Midnight Star fell fast and far. A 1988 self-titled album flopped, and 1990's Work It Out proved to be their last until 2002's 15th Avenue. Since then, the members continued outside collaborations, but they also came together for frequent touring. As late as 2007, the group's lineup featured Lipscomb, Gentry, Watson, Lovelace, and Gant. As Calloway, the Calloways found success with their first single, 1989's "I Wanna Be Rich," which hit number two on the pop charts. The track was their only major hit, followed by "Sir Lancelot" and the title track from their 1990 debut album, All the Way. Calloway returned two years later with Let's Get Smooth, but the album proved their last. The brothers continued working, with Pieces of a Dream and Bootsy Collins, among others."
"In February 2012, Pere Ubu synthesists Allen Ravenstine ('75 to '89) and Robert Wheeler ('94 to present), two legendary figures of Cleveland's punk rock scene, met at Grant Avenue Studio to discuss and demonstrate the EML modular synthesizers that have been an integral part of the Pere Ubu sound for almost 40 years. The interviews were conducted for inclusion in "I Dream of Wires: the Modular Synthesizer Documentary." The impromptu jam session that followed marked the first time the two have ever played together.
I DREAM OF WIRES is a forthcoming documentary film about the history and resurgence of modular synthesizers. The film is currently in production. This is the 2nd in a series of extended interviews, which will be produced and released in various formats throughout the production, and following the release, of the film. I DREAM OF WIRES extended interview segments are sponsored by MATRIXSYNTH (m.matrixsynth.com).
Note: An extended, 23-minute cut of this piece is available to watch on YouTube, with additional performance footage and further discussions on the early days of Pere Ubu. A must for Pere Ubu fans! youtube.com/watch?v=fSBYPHWka_E
Update: at the end of the video spot the custom EML modular to the right of the sequencer with what looks like chrome knobs. It's a one off custom EML. EML was known to make custom systems including the PMS Syntar and components of the custom EML for George Mattson of Mattson Mini Modular. See the Matton EML and Syntar labels below for more.
"Finalist Skot Wiedmann's untitled instrument houses discrete modular synthesizer circuit boards connected by a neural network of wires in a star-shaped interface. It has oodles of knobs for sound-tweaking.
The instrument's somewhat unpredictable nature is mitigated somewhat by performance controls: Rotating dials and blue touchpads shape and add elements to the sound, from theremin-like whines to shuffling beats. Imagine this magnificent contraption providing live accompaniment to a silent science-fi film screening."
