QuNexus Feels You...

Published on Nov 23, 2012 by Keith McMillen Instruments

"Circuit Glyphs" - Analogue Solutions / Phobos Red Square

Published on Nov 23, 2012 by TimeSynthis

"An Abstract Electronic solo piece sequenced in 5/4. The Phobos (aka Analogue Systems) Red Square Semi modular mono synth is choosing most of the tones through it's Sample and Hold circuit. Rythmically driven with 10 step sequencer modulating LFO frequency in steps, a 4 step sequencer modulates pulse width at times. playing SD-1 keyboard strictly as a midi controller. No overdubs, one live performance,with some Lexicon MX300 spring reverb added.

Scene: Year 7800, Location: In the sands of Massachusetts, in an area formally known as technology highway. Archeologists discover fragments of circuit boards and believe it to be a lost language or art.

Note: Circuit boards shown are not of the Red Square's internal boards."

Korg Monotribe Drum Mods Kit

Published on Nov 23, 2012 by darenager
"You will need to listen on headphones or half decent speakers to hear properly.
A new pre-built mod kit for the Monotribe, this adds 4 switches to change the drum sounds, decay for BD, tone for snare, decay for snare noise, decay for hi hat. The switches have 3 positions, when set to centre the default sounds are heard, when up or down the mod sounds are heard.

To install it you need to drill 6 holes and solder 5 wires, the circuit board and switches are pre-built.

I also do midi mods for the Monotribe, and I have some other mod kits coming soon so stay tuned.

Send me a message if you are interested. Pricing is reasonable but not as cheap as DIY as it has to be worth my while. There are lots of good DIY resources for mods if you google for them."


monotribes on eBay

Once upon a time: Oberheim Matrix 1000

"Una rapida, essenziale demo del Matrix 1000 di Oberheim.
Articolo correlato su www.audiocentralmagazine.com"

Signed Moogfest Posters to Benefit The Bob Moog Foundation - The Signers

This is a follow-up to this post where you will find an image of the poster.  Here we have pics of the actual signings sent in via Michelle Moog-Koussa of The Bob Moog Foundation.  You can find the posters listed here.  The auctions end tonight, so be sure to bid now if you plan to.

Via The Bob Moog Foundation:

"Moogest Rockers and Legends Sign Moogfest 2012 Official Posters

At Moogfest 2012, a host of artists were generous and gracious enough sign the beautiful, official Moogfest posters (which are works or art in themselves) to help raise funding for the projects of the Bob Moog Foundation. Among those artists were: Orbital, Richie Hawtin, Santigold, Morton Subotnick, Thomas Dolby, Nas, Primus, Squarepusher, Black Moth Super Rainbow, Carl Craig, Bear in Heaven, Divine Fits, GZA, Magnetic Fields, Miike Snow, Death Grips, Shpongle and Explosions in the Sky and E-lp.


The one-of-a-kind Moogfest 2012 Official poster were designed by Eric Davis. Featuring clouds and the moon in hues ranging from pastel to neon, this work of art is a great addition to any poster collection. Printed on 100lb poster stock, this 24” x 36” poster also features the festival name, dates and complete line-up.

You can view the posters and bid on them here, but don’t delay. The auctions in the first few hours of the morning on Saturday, November 24th."

Pictured:
Morton Subotnick
Squarepusher (Tom Jenkinson)
Santigold
Carl Craig
Paul Hartnoll (Orbital)
Phil Hartnoll (Orbital)
Ana Sia
Bear in Heaven
Shpongle
Thomas Dolby
Explosions in the Sky

CLICK FOR MORE »

ARP 2500 Modules Up for Auction

Note: links to listings are affiliate links for which the site may be compensated.

via this auction

Note the Cynthia panels below. Via the listing: "This is kind of a round-about story so please bear with me. Several years ago we purchased a wing for our ARP 2500 synthesizer. Although all of the modules worked, the wood casing was badly damaged. So we got the brilliant idea to remove the modules and convert them to rack mount (standard 19"). There begins our tale of woe. We contracted with a well-known Los Angeles synthesizer module manufacturer to undertake the project and paid a large sum of money as an advance. This company did a superb job of designing the front rack plate (picture 3) and the metal shop that fabricated them did a superb job, too. Several years later, though, the project was bogged down, nothing was happening. In fact we had to pay the metal shop directly in order to get the plates, then we had to retrieve the modules, etc.
We thereupon contracted with another well-known Los Angeles synthesizer module manufacturer to undertake the project and paid a large sum of money as an advance. A year later nothing had happened, in fact it proved difficult to retrieve the modules and the metal plates. At this point we no longer have psychological stamina to complete this project so we are offering it to somebody who can. Here's what you get. There are two complete, fully-engraved panels with all appropriate mounting holes (picture 3). You will need to supply all of the jacks (you will need 240 of them to fully populate both of the drilled racks). There are three panels that are engraved but that do not have holes (picture 6, sorry about the flash glare). We will give you the name of the metal shop that made these and it will not be costly to get them drilled should you want to. Our concept was to ditch the sliders, which were somewhat beat up (and as anybody who has used this synth knows, are not particularly intuitive to begin with). All connections are to be made directly to the modules via jacks that mount on the panel. Notwithstanding we are including the sliders, two of the "large" type and two of the "small" type (pictures 4 & 5). They do not have the little plastic colored slider caps, the wires are entangled and it would take a lot of work to restore them to full functionality, which is why we recommend you do not try to repurpose them for this installation. There are five edge card sockets, you will need to source two more however we understand they are not difficult to find. There are six modules (pictures 1 and 2): 1033 dual envelope generator; 1023 dual oscillator; 1005 mod amp (missing two switch covers); 1004-T oscillator; 1006 filter amp (missing a switch); and 1027 clocked sequential controller (missing two switch covers). Like I said all of the modules were working when pulled from the original damaged wood cabinet, however, we are selling them as is. They are clean with no missing or broken parts except as noted, evidence of electrical fire, etc. Cosmetically the modules are in G+ condition as depicted with some light scratching, nothing untoward given their age. In principle, to finish this project, after sourcing the remaining parts, you will need to hook the jacks up to the appropriate pins on the edge card sockets and provide a power supply (not included). Failing that you can just use the modules as spares for your pre-existing ARP 2500."

Yamaha Electone FE-50m Videos

Walking on Ringworld

Published on Nov 23, 2012 by FlametopFred

Satellite

Buchla Break no-3

Published on Nov 23, 2012 by vgermuse
"Every Friday at 9 a.m. PST at http://www.ustream.tv/channel/buchlabot (that stream has better video quality but has commercials) I'm going to try and do a 10-15 improv or patchplay and continue the discussion later at the Buchla, EMS & Serge forum at muffwiggler.com. A slightly higher resolution video is available and archived at the above ustream url
cheers, Todd"

Gotharman's Biggar deMOON - Bass Tweak

Published on Nov 23, 2012 by gotharman
"Tweaking my new biggar beast :)
www.gotharman.dk"

Self Destruction - DJ Lace vs RC Dahle & The Passenger

via Lace Dj on The MATRIXSYNTH Lounge. More pics here.

"An electronic rock track using a custom built electric cigar box bass guitar, a Sequential Circuits Pro 1, Roland TR-606, Korg MS-20, a custom eurorack modular synth & intersound spring reverb. Vocals were recorded using a 1995 groove tubes MD1 tube mic, into a focusrite ISA one preamp with digital out. Recorded into ableton live 8, mixed on a Tascam DM4800 with yamaha HS80 monitors.

The track started out as a quick jam to a 77 bpm beat using the box bass & the song developed from there.

The box bass has an oak neck and poplar box. It’s nailed together so it resonates, the string is a spare low string from L&M. The pickups are a pair of dimarzio Twang kings. Their are placed to the side of the string, facing each other and offset. The top pickup is on a hinge.

The bass was plugged into the Focusrite ISA one with the gain all the way up. The ISA can take a lot of drive and sounds great squared off.

Ryan Dahle played the bass string with power, forcing it to hit the non moving coil at times, to great effect. While playing he would also vary the distance of the second coil. During the breakdown he rubs and strikes the moving coil against the string and jumps back into the guitar riff by plucking normally and moving the coil back again.

At mix down the guitar is run through a tube screamer plugin and an ssl vst channel pulling back 350 and pushing 5k up. It is panned hard right and left dry. An effect send from the guitar channel feeds an intersound spring reverb with 1k pulled back about 6db. The dry guitar signal and reverb return are matched back to stereo in a late 60s fashion.

The mechanical noises in the background of the track were created as a modular sequence that had to be restarted until it started on a part of the pattern that sounded right.

For this sequence, The TR 606, MS 20 module, and Modular are all wired together as one system. The 606 receives dinsync from the DAW via a roland SBX10 sync box. From the 606 the high tom output triggers the clock input of the MFB trigger sequencer in the modular which is making a 32 step pattern triggering a clock divider that controls the envelopes used in the system. One of the clock divider trigger outs controls the a105 filter which filters the output of an A117 noise source. The resonance of the A105 is wide open and modulate by the animated pulse out of the Livewire AFG (VCO). The frequency of the AFG is itself modulated by one of the LFOs on the A143-3 (quad lfo).

This is what creates the low volume noise in the track treated to sound like sample distortion artifacts.
Another of the the clock divider outputs feeds the MS 20 trigger input. The pink noise generator on the MS 20 is patched back into it's own external input. This noise runs through the ms 20 filter sections under control by envelope generator 2, and the on board LFO.

This is what creates the tom like sounds and the helicopter warble synth noises when the song picks up at the end.

Yet another output of the clock divider feeds an A140 envelope generator which is triggering the spare VCA on the ms20. The white noise of ms 20 goes into the audio input of this VCA and into the analog input mod of the TR 606. Inside the 606, this rhythmic noise pattern is cross modulated by the high hat pattern and you can hear the result in the track. The swung out effect of the high hats is a direct result of this, as the 606 has no swing function.

The drums are distorted 909 samples, run as a stereo drum mix into a Duende SSL bus compressor. The background vocals are a 5 part harmony, sung in 6 duplicates each mixed down to mono comps, then spread out into a 70s rock opera stereo field. There is a 375ms ping pong delay on the two high vocals and a long reverb on the two low ones. The middle ones are dry. The chorus lead is sung twice and double tracked, shifted by hand in various parts of the song to pull the effect forward and backwards. The front verse and the chorus share the same tempo delay. The delay is slightly bit crushed.

In order to give the idea of the background vocals slowly destroyed under the pressure of the drums, they shift to vocoded versions of themselves losing a bit of pitch tracking in the process and get bit crushed into nothing by the time the last chorus ends. This is done with 5 individual vocoder plugins and 5 bit crushers and automated ramps.

The desperation vocal in the break down and rebuild is mostly dry albeit for a small amount of TC reverb that sits behind the whole mix. The vocal has one effect on it, a boss ds1 plugin with mild gain. An SSL channel is used to shelf the bottom out completely and bring the top end up a bit, giving the vocal a “small” feel.

The pro 1 brings a bit of bass to complement the guitar, but it’s mixed pretty low in the mix, leaving the kick drums to do more work and get to a hard-techno / hard-style sound. The sample at the end is from a loop of the second chorus that just sounded so cool I decided to tag it at the end of the track, taking yet into one more direction before an old school FM radio fade ending.

The track was mixed down on a Tascam DM4800, using the onboard TC reverb and and external intersound reverb unit. Enjoy"