Wednesday, May 29, 2013
Lunetta Noise
Published on May 29, 2013 electro lobotomy·146 videos
"Dual Beast Master Jam + a randomly cut tape loop."
Mobile Music Making @Berlin Summer University of the Arts
Published on May 29, 2013 DigiEnsemble·21 videos
"Making music on iPhone, iPad, Samsung and Nexus with music apps?
Some excellent music apps offer users innovative digital musical instruments and remarkable music creation platforms. I want to invite you to an international App Music seminar that takes place from July 29th to August 2nd at the Berlin Summer University of the Arts.
date: July 29th-August 2nd 2013
place: UdK Berlin, Bundesallee 1-12
fee: 400 € (from June 10th 2013: 420 €)
no. of participants: 12 to 15
language: English
application deadline: July 1st 2013
online registration: http://www.udk-berlin.de/summer-courses
more information: http://www.udk-berlin.de/sites/sommer..."
DigiEnsemble Berlin spielt im Berliner Dom am 16. Dezember 2012
Published on May 29, 2013
Das DigiEnsemble Berlin spielte mit Smartphones und Tablets ein umfangreiches Musikprogramm im Rahmen des sonntäglichen Gottesdienstes am 3. Advent 2012 im Berliner Dom.
http://www.digiensemble.de/berliner-dom
Mit Musik-Apps spielten sie vor 600 Gästen Händels Konzert-Arie „Ombra Mai Fu" aus der Oper Xerxes, gesungen von der bezaubernden Sopranistin Anna Gütter. Außerdem wurde es eine experimentelle Raumklang-Collage nach einem Konzept von Sven Ratzel gespielt, die den Choral „Nun komm, der Heiden Heiland" und seinen altkirchlichen Vorgänger, den Hymnus „Veni redemptor gentium" des Ambrosius von Mailand (339--397) zur Basis nimmt. Ein weiterer Höhepunkt ist die Premiere unserer Interpretation der anspruchsvollen Bass-Arie „Großer Herr und starker König" aus J.S. Bachs berühmtem Weihnachtsoratorium. Für den Gesangspart konnte der bekannte Bariton Roman Trekel gewonnen werden.
http://digiensemble.de"
Steve Fisk's Yamaha CS60 for Sale
Note: Auction links are affiliate links for which the site may be compensated.
Steve Fisk wrote in to let me know his Yamaha CS60 is for sale in Seattle. If you are interested contact him at shfisk@gmail.com. For those of you not familiar with Steve Fisk, he's a Washington based audio engineer, musician and producer of quite a few bands including Nirvana, Soundgarden and more. Check out his Wikipedia article for the full list. Steve's involvement with synths goes back to the USC Moog studio circa 1973. He also gave a talk on the ARP 2600 at the 2011 PNW (MMTA) SynthFest (video posted here).
As for the CS60, here is what Steve has to say about it:
"YAMAHA CS-60 for sale. Excellent condition. Keyboard sliders, switches and ribbon controller all working great. No legs or pedal. The door to the powerchord storage nook is funky. Currently this synth's tuning is out of adjustment. It needs to have the oscs calibrated with these sensitive little trim pots. Its close to intune when you warm it up. Still the bug is the voice swapping and the individual oscs drift away from each other as it heats up. Even when its tweaked to spec there's a jankyness to the sound from the oscs flipping under your hand. If you play a C chord 4 times each one sounds different. The tuning knob helps. The tuning tweak can be upwards of $200 and needs to be done fairly often if you plan to use this live. If it sits in a studio or home the tuning should hold for a year or more. Its pretty sensitive for being so heavy. It likes to be moved flat. This all helps keep the tuning. Also heat and cold throw it out of tune. I give it a good warm it up for a half hour before I record with it. The Cs-60 got used in my bands Pigeonhed and Pell Mell and many other things I produced.
NOT TO BE CONFUSED WITH THE CS80, the CS60 is the one osc version of the CS 80 (two oscs) and while that may not seem like much, it's a big diff. 2 oscs bring the chorus and warble where the one osc CS 60 is fat and huge it don't chorus and waft like the CS 80. Somebody pointed out on virtualsynth.com that a double tracked CS 60 gets you in CS 80 territory for under $10,000, an odd but valid point. Also I suspect the CS 60 is less buggy and more stable because it has fewer things to go out of tune and less internal heat too by dint."
Steve Fisk wrote in to let me know his Yamaha CS60 is for sale in Seattle. If you are interested contact him at shfisk@gmail.com. For those of you not familiar with Steve Fisk, he's a Washington based audio engineer, musician and producer of quite a few bands including Nirvana, Soundgarden and more. Check out his Wikipedia article for the full list. Steve's involvement with synths goes back to the USC Moog studio circa 1973. He also gave a talk on the ARP 2600 at the 2011 PNW (MMTA) SynthFest (video posted here).
As for the CS60, here is what Steve has to say about it:
"YAMAHA CS-60 for sale. Excellent condition. Keyboard sliders, switches and ribbon controller all working great. No legs or pedal. The door to the powerchord storage nook is funky. Currently this synth's tuning is out of adjustment. It needs to have the oscs calibrated with these sensitive little trim pots. Its close to intune when you warm it up. Still the bug is the voice swapping and the individual oscs drift away from each other as it heats up. Even when its tweaked to spec there's a jankyness to the sound from the oscs flipping under your hand. If you play a C chord 4 times each one sounds different. The tuning knob helps. The tuning tweak can be upwards of $200 and needs to be done fairly often if you plan to use this live. If it sits in a studio or home the tuning should hold for a year or more. Its pretty sensitive for being so heavy. It likes to be moved flat. This all helps keep the tuning. Also heat and cold throw it out of tune. I give it a good warm it up for a half hour before I record with it. The Cs-60 got used in my bands Pigeonhed and Pell Mell and many other things I produced.
NOT TO BE CONFUSED WITH THE CS80, the CS60 is the one osc version of the CS 80 (two oscs) and while that may not seem like much, it's a big diff. 2 oscs bring the chorus and warble where the one osc CS 60 is fat and huge it don't chorus and waft like the CS 80. Somebody pointed out on virtualsynth.com that a double tracked CS 60 gets you in CS 80 territory for under $10,000, an odd but valid point. Also I suspect the CS 60 is less buggy and more stable because it has fewer things to go out of tune and less internal heat too by dint."
Kinetik Laboratories Drone Demo at the Torino Synth Meet
Published on May 29, 2013 AudioCentralMagazine·144 videos
"Kinetik Labs produces some really interesting hardware machines for Drone Music. At the last Turin Synth Meeting, Andrea Reali and Claudio Granzieri plays and demonstrates their pretty dense drone instruments. Enjoy."
The Rob Hordijk Epoch Modular Benjolin Dual VCO Eurorack Module
benjolin eurorack production module
Published on May 7, 2013 Epoch Modular·1 video
Note this is the first Epoch Modular post on MATRIXSYNTH.
"A darling of the DIY synth community for several years now, Rob Hordijk's benjolin circuit is really like no other synth/noisemaker out there. The benjolin is the smaller sibling of Rob's now legendary Blippoo Box, the subject of his 2009 article in Leonardo Music Journal (Vol. 9). Both the Blippoo Box and the benjolin emerged from Rob's attempts to design a circuit that was, as he puts it, "bent by design". As such both modules function according to the basic principles of Chaos theory, where short to long sputtering patterns spontaneously alter themselves over time, at times gradually and at times quite suddenly, morphing into new pattern doublings and bifurcations. The result is two incredibly unique instruments that function in a sense autonomously or can "play themselves" if you like.
Both the Blippoo Box and the benjolin are based around similar "chaotic cores," which in the the case of the benjolin, is comprised of two vcos and a unique circuit designed by Rob, which he calls a rungler. The rungler is basically an 8 step shift register that takes its serial input from the squarewave of one oscillator and its clock input from the other. The digital outputs of the shift register are than put through a 3 bit digital to analogue converter to create stepped voltage patterns, which are then wired back into the oscillators. The effect of this arrangement is to create a complex interference pattern that gives the benjolin its unique, aleatoric character.
Along with this chaotic core, the benjolin also includes a 2-pole vcf with a unique topology that imparts an amount of all harmonic distortion to the filter outputs. The eurorack module I have designed has additional modifications not included in the original benjolin circuit, including HP and LP outs for the filter, as well as a rungler loop function that can be controlled either via control voltage, manually with an offset knob and also with a toggle switch that turns the offset on and off. These different controls may also be used in tandem, and all serve in someway to hold the rungler in a looping pattern, allowing one to cut pieces out of the chaos and create repetitive drones and beat-like patterns at whim.
As you can see from the video, there are 4 cvs in total (to the left side of the panel, top to bottom): one for oscillator A, one for oscillator B, one for the Filter cut off Frequency and of course the rungler loop function already mentioned. The CV inputs of the two oscillators they are normalized for cross modulation so when nothing is plugged in the triangle output of oscillator A goes into the input of B and vice versa. Similarly, the vcf cv input is normalized to the triangle output of triangle B. As you may be able to see from the attached photo, these three normalized cvs each have attenuator knobs as well.
Outputs include the Pulse and triangle wave outputs from oscillators A and B, the direct output from the rungler, an XOR (which is a logic output from the rungler) as well as a PWM output derived from the Triangle waves A and B. And of course there are also the three filter outputs mentioned above.
This video aims at showing the benjolin solely as "self playing" instrument, and as such no external control voltages are utilized. In addition, for the sake of simplicity, only the low pass output of the filter is used. I apologize for the terrible quality of the video (shot on my Iphone). I have just ordered a camcorder, so better quality video will be uploaded soon."
image via Richard Devine on Facebook
"Epoch Modular - Benjolin - dual VCO based on Chaos theory 'Chaotic Cores'."
Published on May 7, 2013 Epoch Modular·1 video
Note this is the first Epoch Modular post on MATRIXSYNTH.
"A darling of the DIY synth community for several years now, Rob Hordijk's benjolin circuit is really like no other synth/noisemaker out there. The benjolin is the smaller sibling of Rob's now legendary Blippoo Box, the subject of his 2009 article in Leonardo Music Journal (Vol. 9). Both the Blippoo Box and the benjolin emerged from Rob's attempts to design a circuit that was, as he puts it, "bent by design". As such both modules function according to the basic principles of Chaos theory, where short to long sputtering patterns spontaneously alter themselves over time, at times gradually and at times quite suddenly, morphing into new pattern doublings and bifurcations. The result is two incredibly unique instruments that function in a sense autonomously or can "play themselves" if you like.
Both the Blippoo Box and the benjolin are based around similar "chaotic cores," which in the the case of the benjolin, is comprised of two vcos and a unique circuit designed by Rob, which he calls a rungler. The rungler is basically an 8 step shift register that takes its serial input from the squarewave of one oscillator and its clock input from the other. The digital outputs of the shift register are than put through a 3 bit digital to analogue converter to create stepped voltage patterns, which are then wired back into the oscillators. The effect of this arrangement is to create a complex interference pattern that gives the benjolin its unique, aleatoric character.
Along with this chaotic core, the benjolin also includes a 2-pole vcf with a unique topology that imparts an amount of all harmonic distortion to the filter outputs. The eurorack module I have designed has additional modifications not included in the original benjolin circuit, including HP and LP outs for the filter, as well as a rungler loop function that can be controlled either via control voltage, manually with an offset knob and also with a toggle switch that turns the offset on and off. These different controls may also be used in tandem, and all serve in someway to hold the rungler in a looping pattern, allowing one to cut pieces out of the chaos and create repetitive drones and beat-like patterns at whim.
As you can see from the video, there are 4 cvs in total (to the left side of the panel, top to bottom): one for oscillator A, one for oscillator B, one for the Filter cut off Frequency and of course the rungler loop function already mentioned. The CV inputs of the two oscillators they are normalized for cross modulation so when nothing is plugged in the triangle output of oscillator A goes into the input of B and vice versa. Similarly, the vcf cv input is normalized to the triangle output of triangle B. As you may be able to see from the attached photo, these three normalized cvs each have attenuator knobs as well.
Outputs include the Pulse and triangle wave outputs from oscillators A and B, the direct output from the rungler, an XOR (which is a logic output from the rungler) as well as a PWM output derived from the Triangle waves A and B. And of course there are also the three filter outputs mentioned above.
This video aims at showing the benjolin solely as "self playing" instrument, and as such no external control voltages are utilized. In addition, for the sake of simplicity, only the low pass output of the filter is used. I apologize for the terrible quality of the video (shot on my Iphone). I have just ordered a camcorder, so better quality video will be uploaded soon."
image via Richard Devine on Facebook
"Epoch Modular - Benjolin - dual VCO based on Chaos theory 'Chaotic Cores'."
S.O.S. Radio-inactivity ... a new demo 100% Alesis Fusion 8hd, by tlnet37
Published on May 29, 2013 tlnet37·75 videos
"Here a new experiment with different sounds to pay an homage to KRAFTWERK."
via Thierry Lebon on The MATRIXSYNTH Lounge
"Here a new experiment with different sounds to pay an homage to KRAFTWERK."
via Thierry Lebon on The MATRIXSYNTH Lounge
Create an EDM supersaw synth bass with Cableguys Curve 2
Published on May 29, 2013
"Myagi shows you how to create a supersaw bass with Curve 2.
DOWNLOAD DEMO: http://www.cableguys.de/downloads.html
MORE INFO: http://www.cableguys.de/curve.html
Curve is a software synthesizer with an irresistible waveform editor, huge sound library and slick interface. Ideal for both experimentation and detailed tweaking at an excellent sound quality."
Myagi also offers the Interactive Online Masterclass by Synthesis & Sound Design
A Patch A Day, No. 21
Published on May 29, 2013 hamiltonulmer·21 videos
"A curious patch, which began as a boredom-inducing percussive thing, and got a pinch wackier.
I wanted to attempt to fade out one clock for another, but that didn't work too keenly. I did, however, think of any interesting way of switching between tempos and triggers fairly easily. One flip of the µFade A/B switch and we can jump to a different clock entirely. Still trying to figure out how mixing clocks together might work.
And of course a flip of one of the Quadra expander switches produces many other interesting patterns. I am enjoying using the Quadra as a clocking device. By flipping the 1 + 2 switch, with 1 as a potential clock, a new cycling occurs for both the envelopes of the quadra as well as the clock(s) generated by it.
There's a lot of fiddling around attempting to get the clock divider to switch the clock via the µFade, but that didn't workout very well."
"A curious patch, which began as a boredom-inducing percussive thing, and got a pinch wackier.
I wanted to attempt to fade out one clock for another, but that didn't work too keenly. I did, however, think of any interesting way of switching between tempos and triggers fairly easily. One flip of the µFade A/B switch and we can jump to a different clock entirely. Still trying to figure out how mixing clocks together might work.
And of course a flip of one of the Quadra expander switches produces many other interesting patterns. I am enjoying using the Quadra as a clocking device. By flipping the 1 + 2 switch, with 1 as a potential clock, a new cycling occurs for both the envelopes of the quadra as well as the clock(s) generated by it.
There's a lot of fiddling around attempting to get the clock divider to switch the clock via the µFade, but that didn't workout very well."
LABELS/MORE:
eurorack,
intellijel,
Make Noise,
Pittsburgh Modular Confluence,
STG,
TipTop Audio,
Video
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MATRIXSYNTH - EVERYTHING SYNTH
© Matrixsynth - All posts are presented here for informative, historical and educative purposes as applicable within fair use.
MATRIXSYNTH is supported by affiliate links that use cookies to track clickthroughs and sales. See the privacy policy for details.
MATRIXSYNTH - EVERYTHING SYNTH
