SCI Prophet 5 vs DSI Prophet 08 Test by INHALT (HQ)

Published on Jul 8, 2013 INHALTVIDEO·21 videos

"If you like what you hear and would like to hear more please like our page on Facebook at:
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Digital Available at:
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This is the comparison I think most of our friends have been interested in. Our Sequential Circuits Prophet 5 is a revision 3.2 and has factory midi. It's in incredibly good condition and has been calibrated fully, thus the tuning tends to be a lot more stable than on unserviced Prophet 5's. Because of the MIDI interface we have been able to send the same MIDI sequence from the MPC 2000XL to both the Prophet 08 and the Prophet 5 simultaneously. Both synths were recorded straight into Pro Tools HD via a Precision 8 mic pre and a 192 HD IO audio interface.

Unlike the Oberheim OB 8 comparison, getting patches to sound similar between the Prophet 08 and the Prophet 5 was a lot more work. It felt many times like chasing a moving target--you would modify one synth a little and then bounce to the previous one to get it closer ... so on and so forth. However, we were again surprised by the Prophet 08's ability to get remarkably close to the general tonal characteristic of the infamous Prophet 5.

A couple of observations became apparent during the comparison: it's very very obvious that the Prophet 5 uses analog components. The VCO's move around a lot more, especially on held chords and it's not a linear movement. Even with programming, the Prophet 08 has a more predictable frequency movement. We used the slop function set to the max and it still wasn't quiet enough to get it close.

Also, this can be observed with envelope times as well. The Prophet 5 feels like each voice is somewhat discrete and exhibits slightly different envelope times for each stage (i.e. ADSR). I've simulated this somewhat by routing sample and hold to modulate the envelope stages on the Prophet 08 but it still feels somewhat "obvious" as a programming trick rather than the true discrete voicing as on the Prophet 5. That is not saying anything bad about the Prophet 08, but rather, that the 08 is a lot more precise (digital envelopes vs CEM3310...) in this department than the 5.

The UNISON mode on both synths is very very different. On the 5, it sounds a lot more dialed in especially considering gain staging whereas on the Prophet 08, provisions have to be taken to bring the VCA envelope modulation down so as not to create internal clipping. It also feels like the envelopes work differently on the 08 when in UNISON mode than on the Prophet 5. This is not a comment regarding legato/non legato modes but rather the "feel" of the envelopes themselves. However, I have heard commentary that the 08 unison is like the unison mode on the Roland Juno 106, and as a former user of a 106, I can safely say that it is nothing like that. It's just a different feeling unison mode that requires a little bit more work on the programming end.

We hope you enjoy this comparison. It was a lot of fun to record and program this."

ELECTRO HARMONIX MINI SYNTHESIZER EH-400 with Schematics

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

via this auction

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YAMAHA PS-3 Modified by Noystoise

via noystoise

"The ps-3 came equipped with nine timbres. most of which are the same sound through a different combination of VCF and VCA envelopes. there are then two octaves of the main oscillator that are being fed to the timbre filters; 4' and 8'. since i had freed up the VCA and VCF to manual control via the ADSR's, there was no longer any need for the nine timbre selections. instead i chose the three timbre filters that represented HP, BP, and LP best, and designated the three filters to each of the 4' and 8' voices. each timbre of the two voices can be completely attenuated to create infinite voice combinations. see the schematic for more..."

Some of you might recognize this one from the videos posted back in 2012 here. This is pretty amazing.  Just look at the image above and the end result below.   That is pretty spectacular in my book.

An Excerpt

Published on Jul 8, 2013 GoldenCardiganCult·11 videos

"These are the building blocks for the song I'm writing. The Modular is doing the bass line, lead synth and some click percussion. The drums are from my 'Terminal Glitch 3' Reaktor ensemble. 'Terminal Glitch' 1&2 are available from the Reaktor User library.

The Joystick is controlling the amount Ring Mod in the mix. I have used the outputs of the filters to feed the Ring Mod instead of the direct VCO outputs. This adds some interesting variations to the Ring Mod as the filters are modulated. The CGS Serge 1973 filter (top right) features heavily in this piece."

Electron XL for iPad

Published on Jul 8, 2013 musicgearvideos909·142 videos

"No presets! Very simple app. I like the FM section though.
Check out the review and info here: http://synthuniverse.com/electron-xl/"

"Electron XL is micro synthesizer.

Good old analog knob please turn on two fingers.
You can change the octave to swipe the bottom of the keyboard."

iTunes:
Electron XL - denkihitsuji.com

En Mode Masculin Féminin

Published on Jul 5, 2013 RADIOKLOW·87 videos

Details via Marc-Henri including synths for each part:

"I am very happy to share with you this film and this music, as a tribute to the creations of a young artist in haute couture, William Kerney, 'present on Facebook), who is only 18 years old and student in term year of my the high school where I teach. I composed the music and the film was built from various sources : movies and photos shot by me and members of the team who worked on this project. Photographers, assistants, hairdressers, cosmeticians, models are all students at Lycée Edouard Herriot of lyon, France.

William Kerney conceived himself all the gowns and hats, from the basis skteches to the final production, including the sewing of every clothe and worked one year on this project.

The film begins with the collections he created during the first semester of 2013, and goes on with the fashion parade he presented around his theme of masculinity and feminity, at Lycée Edouard in may 2013, during the Week of Performing Arts of this high school. It is followed, after the end credits by a bonus consisting of two interviews in french. The first one with William Kerney and his assistant Tristan Fiancette, the second one with me as a teacher of philosophy at Lycée Edouard Herriot, teacher in charge of Culture Life in this high school composer of this music, editor of this film and author of some of the images it contains, just after the fashion parade.

All sounds on Virus TI were created by me. Sounds of other real or virtual instruments are patches of these instruments : mainly Roland Phantom XR - orchestra and voices and piano expanding cards of the SRX series : SRX-02 : "Concert Piano" and SRX-O6, "Complete Orchestra" and SRX - and also feminine choirs from Voices of Passion by Eastwest. At the end of the composition he created a special sound on Alchemy by Camel Audio and played it myself (see below) during the final part of the composition : it is not a sequence nor an automatic pulsation.

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How To Make a $200 Minimoog

How I Made My $200 Minimoog Uploaded on Dec 26, 2010 LearnLizard·3 videos

"By placing graphics on an old Evolution UC-16midi controller, (controlling Arturia minimoog V software) I can pretend I have a minimoog!"

Roger Powell's One of a Kind Controller Finds its Way Home to the BMF

via The Bob Moog Foundation.

"Pioneering synthesist Roger Powell recently donated his custom keyboard controller to the Bob Moog Foundation Archives. In a special post dedicated to the controller, BMF Archive and Education Specialist Marc Doty explores the unique history and functionality of this one-off design created by Bob Moog himself.

Interested in donating your piece of history to the Bob Moog Foundation? Please contact us at info@moogfoundation.org."

From the article (do check out the full post for the history and full story.  The following focuses only on the features): "Bob and Roger worked together to create a keyboard controller that could harness the power of two modular synthesizers in real-time through a single, convenient interface. A challenge was to do this while meeting Powell’s requirements for advanced controls over the dynamic and expressive qualities of the sound. The controller began its life as a Moog 951 keyboard, but a lot of features were added. The custom controller’s features included:

Two keyboard manuals, allowing independent patches on the two modular synthesizers to be played at the same time.

A pitch wheel.

A modulation wheel.

Individual scale, range, portamento settings, and portamento switches were installed for each manual. These could set for each keyboard individually, or combined to control both keyboards at the same time.

A built-in mixer section with four faders, to manage the sound of the two synths. This custom Bob Moog-designed mixer allowed Roger to easily manage the loudness of various patches and effects he was using in a live setting.

A volume control for the Echoplex delay unit Roger used with the system.

A VU meter for measuring the relative amplitude of the synthesizer output.

A headphone jack, headphone volume, and output on/off switch that allowed Roger to preview tuning and patch changes before making them audible to the audience.

Two “accessory” ports for a Ribbon Controller and a standalone Sample/Hold module.

The keyboard module interfaced with the modular systems through a special cable and connector port. This cable carried the control voltages from the two manuals, accessories, and modulation/pitch wheels and distributed them to the proper synthesizer modules. The cable also had several tracks of audio return which came back into the keyboard from the audio output of the modular; their loudness was individually controlled by the Bob Moog custom-designed mixer. The total output of the synthesizer, came out of the system’s Line Level Out XLR jack."

You, Too, Could Hold it High

via The Bob Moog Foundation on Facebook

"You, too, could hold it high. Two days left http://bit.ly/17mGEvB

Continued thanks to BMF Rockstar Volunteer and super photog Paul Lewis Anderson for the photo."

You can find all pics in the series here.

Festival Oscillations/SESC Vila Mariana Featuring Herb Deutsch & More

via Astronauta Pinguim (Googlish translation below)

"Festival Oscillations

SESC Vila Mariana

Apresentação:

O termo “música eletrônica” é associado, principalmente nos dias de hoje, à raves e pistas de dança do mundo inteiro. Mas nem sempre foi assim. Houve um período no qual as coisas eram bem diferentes e o termo era utilizado quase que exclusivamente de forma acadêmica nas faculdades de música, que tinham entre seus mestres nomes que trabalhavam com estruturas musicais mais radicais e inovadoras, geralmente utilizando tecnologias recém inventandas e ainda em desenvolvimento. O período que vai desde as primeiras experiências com geradores de som construídos eletrônicamente e o uso destes aparatos para gerar ritmos dançantes é tão grande e tão cheio de mistérios que merece ser estudado com mais profundidade e, somente com estes estudos e o acesso do ouvinte à eles, entenderemos melhor a evolução pela qual a música moderna passou no ultimo século, acarretando inclusive mudanças sociais e comportamentais importantíssimas para a humanidade. Ao trazermos ao Brasil nomes como Herbert Deutsch, Harald Grosskopf, Hans-Joachim Roedelius e Silver Apples, não só realizamos um festival inovador - nunca antes realizado no nosso país - como também trazemos uma parte importante e (ainda) não devidamente documentada da música mundial!

Participantes do Festival Oscillations:

Herbert Deutsch – O compositor, arranjador e inventor norte-americano Herbert Deutsch - nascido no início da década de 30 - foi o grande nome ao lado de Robert Moog na invenção do sintetizador. Foi ele quem procurou o doutor Moog com a idéia de um novo instrumento baseado nos estudos de osciladores controlados por voltagem, já em andamento nas pesquisas de Robert Moog. Herbert Deutsch foi parte importante na confecção do protótipo numero um do sintetizador Moog, instrumento que mudou completamente a forma como a música passou a ser criada e apreciada nas últimas 5 décadas. Desde o início dos anos 60, ele tem se dedicado a lecionar nas cadeiras de Musica Eletrônica e Composição na Hofstra University, em Nova York. Herbert Deutsch apresentará sua famosa palestra/concerto/demonstração “From Moog to Mac”, que abrange desde seus primeiros experimentos com música eletrônica, ainda nos anos 50, até suas mais recentes pesquisas na área, passando pela invenção do sintetizador em 1964. Herbert utilizará instrumentos originais para suas demonstrações no auditório do SESC Vila Mariana.

Harald Grosskopf - Nascido no final dos anos 40, na cidade de Hildesheim (Alemanha), Harald Grosskopf é, desde o início da sua carreira artística no começo dos anos 70, um dos músicos mais atuantes da sua geração. Participou de mais de 100 discos de bandas e artistas importantes do chamado "krautrock", como Wallenstein, Cosmic Jokers, Ashra Tempel, Klaus Schulze e Walter Wegmüller, entre outros. Em 1980, Harald Grosskopf lançou seu clássico LP “Synthesist” (relançado recentemente pelo selo norte-americano Rvng Intl), além de atuar como músico na banda de apoio da cantora Lili Berlin, na primeira metade dos anos 80. Nos anos 90 e 2000, Harald participou de projetos ao lado do também músico e produtor alemão Steve Baltes (Sunya Beat e N-tribe), além de dedicar-se à sua carreira solo e também retornar à banda Ash Ra, onde permanece até hoje. Harald Grosskopf tem 6 discos solo lançados, sendo o mais recente uma nova roupagem do álbum “Synthesist” (1980), agora renomeado “Synthesist 2010” (Rvng Intl).

Hans-Joachim Roedelius - Hans-Joachim Roedelius é um dos principais nomes do "krautrock" (como era chamado o rock e a música eletrônica/experimental feita na Alemanha nos anos 60 e 70) e também pode ser considerado um dos principais e mais criativos pioneiros de várias subdivisões da música eletrônica, da "ambient" ao "industrial", devido à originalidade dos projetos e bandas nas quais foi integrante ao longo de 45 anos de carreira. Fundador do trio Kluster - ao lado de Conrad Schnitzler (ex-Tangerine Dream) e de Dieter Moebius -, do Cluster (com Moebius) e do Harmonia (com Moebius e Michael Rother, ex-Kraftwerk), Roedelius é um dos experimentadores mais sutis (e ao mesmo tempo um dos mais radicais) dentro das suas áreas de atuação, sendo citado como influência de nomes como o produtor Brian Eno, com quem Roedelius gravou 3 álbuns nos anos 70 ("Tracks and Traces", gravado pelo Harmonia em 1976, "Cluster & Eno" e "After the heat", ambos gravados por Roedelius, Moebius and Eno em 1977).

Silver Apples - Influência tanto para apreciadores da música eletrônica - aquela feita nos primórios, com equipamentos analógicos e sem toda a tecnologia "facilitadora" de hoje em dia - como para fãs do rock experimental que se fazia nos anos 60, o Silver Apples é uma das bandas mais interessantes da história da música mundial. Formada na segunda metade dos anos 60, a dupla original era constituida pelo baterista Danny Taylor e por Simeon Coxe III, executando uma parafernália eletrônica inacreditável na época (Simeon chegou a utilizar nove osciladores de áudio controlados por um mecanismo no qual ele utilizava as mãos, os pés e até os joelhos e cotovelos para tocar ao vivo). Nesta época a dupla gravou três discos imprescindíveis em qualquer coleção: "Silver Apples" (1968), "Contact" (1969) e "The Garden" (gravado em 1969, mas lançado somente em 1998), álbuns que colocaram os Silver Apples para sempre na história da música como uma das primeiras bandas eletrônicas de todos os tempos, antecipando inclusive toda a revolução eletrônica capitaneada pelo Kraftwerk e outras bandas alemãs na década seguinte. Hoje em dia, Simeon Coxe III mantém o legado da dupla vivo (apesar do falecimento de Danny Taylor em 2005), se apresentando nos maiores festivais de música do mundo! O Silver Apples se apresenta pela segunda vez no palco do SESC Vila Mariana.

CURADORIA/ DIRECAO ARTISTICA:

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