"For sale here is an Acidlab Miami. I love this drum machine. I've used this on a bunch of tracks. I've owned more than a few Roland TR808 and after getting the Acidlab I sold my 808, that's how good this Miami is. It sounds even better in some ways, plus you get modern functionality like midi and advanced programming capabilities. Really great machine for the value. It's in excellent shape, fully functional. Check out the pictures below. Includes Acidlab, power supply and manual."
"When people associate composer David First with his musical resume, anyone goes straight to his late 70′s avant punk band, The Notekillers and their influential 1980 single "The Zipper". Prior to his time in the basements of Philadelphia, he had already played in Cecil Taylor’s ensemble and after the Notekillers broke up he moved to New York City in the early 80′s, taking root in the downtown NYC avant garde scene. It was there that First honed his craft for experimental composition and ambient drone which still continues to the present day.
Though this narrative made sense, there was a piece missing in the puzzle of First’s musical background. In 1976, two years after playing with Taylor and the year before starting the Notekillers, he enrolled in a class in electronic music at Princeton in the department headed at the time by legendary electronic composer Milton Babbitt.
During his time at Princeton, First was introduced to the classical electronic music studio there, a lonely outpost of the famed Columbia-Princeton Electronic Music Center which housed one of the very first Buchla 100 series systems acquired by Vladimir Ussachevsky & Otto Luening.
Unfortunately, due to the introduction of digital technology within the music world, this system was left to languish in the studio unattended and nearly forgotten. First fell in love with this equipment and seized the opportunity to compose using the Buchla 100 synthesizer, at first experimenting only with electronic synthesis but later adding in his signature guitar stylings to make these compositions unique to the academic output typical of university music.
Thankfully, these compositions were recorded by First at Princeton on various reel to reel tapes and stored away for over 35 years. It wasn’t until the summer of 2012, when David First and Ryan Martin (of Dais Records) decided to revisit and transfer these reels to compile an album presented here as a selection of genuine, uninhibited exploration into modular electronic synthesis. Limited to an edition of 500 copies with liner notes by David First."
Published on Feb 7, 2014 macbethsynthesizers·105 videos
"I wanted to apply Control Voltage to the Tape Delay Simulator section of the MacBeth Nexus/Elements synthesizer. When clocked at different speeds the results are dramatic! Will a little bit of feedback- just before oscillation- small 'artficats' can be heard if left to it's own devices. One oscillator ius providing the audio- the other oscillator is modulating the Tape Delay Simulator with Sample and Hold CV..Basically- this video is more 'audio' than video as there is not much potentiometer tweaking happening. I used myself and a camera as 'background' material for the vid! Although starting quietly- it certainly picks up! There's a real vintage European Electro vibe going on here!"
"Module A-120 is a voltage controlled low-pass filter, which filters out the higher parts of the sound spectrum, and lets lower frequencies pass through. The Cut-Off Frequency determines the point at which filtering takes effect. You can control this manually, or by voltage control (filter modulation, for instance by an LFO). Three CV inputs are available, and the sum of the voltages from these affects the filter cut-off.
The module is based on a so-called "transistor ladder" design, with a cut-off slope of -24 dB/octave, as in various Moog synthesizers. That's what gives it its classic, legendary Moog sound.
Resonance (or Emphasis) is adjustable all the way up to self-oscillation - in which case the filter behaves like a sine wave oscillator."
"Module A-114 contains two separate ring modulators. A ring modulator outputs the product (Multiplication X • Y) of the signals at inputs X and Y. It's similar to a VCA, but whereas a VCA only responds to positive voltages at the inputs (2-quadrant multiplication), the ring modulator responds to both positive and negative voltages (4-quadrant multiplication).
The ring modulator thus provides a refinement of amplitude modulation (AM). Ordinary amplitude modulation will output the original carrier frequency fC as well as the two side bands (fC - fM, fC + fM) for each of the spectral components of the carrier and modulation signals - but ring modulation cancels out the carrier frequencies, and just lets the side-bands pass to the output (see Fig. 1).
A ring modulator is used for the production of bell-like sounds, alien voices, or just to produce new timbres."
