Boomerang

Published on May 11, 2016 Oren Levy

"Experimenting with recording a guitar riff onto the Boomerand III, which is MIDI synced to everything else. Electribe 2 for drums. Euro having fun with everything else."

Mellow Moon II

Published on May 12, 2016 John L Rice

"More of the same music from Moon Modular and Synth Tech modules, out of focus sequencer video plus some Moon video footage I shot from my driveway Wednesday night.

Moon Modular 569 sequencer shot with a Canon C100 MkI camera and Canon 135mm f/2.8 soft focus lens, set to the #2 soft focus setting and then dialed completely out of focus.

The actual Moon was shot with a Canon C100 MkI camera and
Opteka 500mm f/6.3 mirror lens for the first two clips and then I added in the 2x converter for the second two clips, effectively making the reach 1000mm.

Both times the C100 A/V output was recorded to an Atomos Ninja Blade using the DNxHD 4.2.2 x codec.

Thank you for watching, rating and commenting! :-)"

Part 1 here.

Syrinx / Intersystems - Electronic Voyager EXTENDED INTERVIEW #2

Syrinx / Intersystems - Electronic Voyager EXTENDED INTERVIEW #2 from Electronic Voyager on Vimeo.

"Electronic Voyager: Retracing Bob Moog’s Sonic Journey…

Support us on Kickstarter April 25 to May 25, 2016

http://tinyurl.com/ElectronicVoyagerKickstarter

Michelle Moog-Koussa is on a journey to retrace her father’s footsteps, meeting some of the people who played a role in Bob Moog's story. As a member of the Toronto-based multi-media group Intersystems, John Mills-Cockell was one of the first musicians to use a Moog synthesizer in a live performance, in 1968. Intersystems were also the first to bring a Moog modular synthesizer system into Canada. Their Moog would also appear on recordings by his later band Syrinx, before meeting an untimely end....

For more information on John Mills-Cockell's use of the Moog modular in Intersystems and Syrinx, please check out this great article post on the Bob Moog Foundation's website:

http://moogfoundation.org/early-live-moog-modular-artists-john-mills-cockell/"

Binary Zone+ patch tutorial

Binary Zone+ patch tutorial from Peter Speer on Vimeo.

"Playing with the sequencing idea first presented in the Blacet Binary Zone module, this patch uses Frames (Mutable Instruments) as a voltage mixer, combining and scaling gate outputs from Tempi (Make Noise), outputting repeating melodic sequences from timing information.

Basic patch:

Tempi outs 1-4 --> Frames ins 1-4

Frames mix out --> VCO 1v/oct in

By setting channel levels on Frames, each pattern of clock divisions entering the module is referenced by a specific voltage at the output. When these patterns overlap, their voltages are summed and the resulting voltage pattern at the output grows more complex.

By modulating the State parameter on Tempi, different arrangements of patterns can be created, altering the output (essentially creating new sequences built around the same notes described by Frames' channel levels).

Likewise, by modulating the keyframe on Frames, different input levels can be recalled, altering the notes in the patterns created by the Tempi gates.

Tempi output 6 --> Tempi Gate Select, Frames Modulation

By feeding a Tempi channel back into its State select input, and multing this to Frames' modulation input (while in Sequencer mode), precisely timed alterations of the voltage sequence can be produced. Additionally, the repetition of these patterns can be offset by having an unequal number of Keyframes (Frames) and States (Tempi).

www.diode-ring.com"

Buchla Dual Looping Delay C Minor

Published on May 12, 2016 Joseph Pailo

"The Buchla 259r, 292e, 281e, 207r, 218r, Rosie, Dual Looping Delay. This is an example of the 4ms DLD with a Buchla System and Keyboard."

Buchla 259, 218 and DLD Amin

Published on May 12, 2016

"The Buchla 259r, 292e, 281e, 207r, 218r, Rosie, Dual Looping Delay. This is an example of the 4ms DLD with a Buchla System and Keyboard. This is in A minor. Most videos show the DLD with a full song being processed. This is a simple patch showing how it sounds in a key signature."

Arpeggiate To Accumulate - Volca FM + more

Published on May 12, 2016 Tony Horgan

"An original track, played live on the hardware alone: Korg Volca FM (using the arpeggiator), Volca Keys, Roland Aira TR-8, Cyclone Analogic TT-303 Bass Bot (x2). Mixed and recorded on the Tascam DP242SD, plus a Danelectro FAB Distortion pedal for the 2nd Bass Bot."

sunny day

Published on May 12, 2016 Unun Septium

"It's a lovely sunny day out there. What better excuse for a dark wig-out with the Rolands and Strymons?"

Exploring The Gristleizer Eurorack Module

Published on May 12, 2016 Bimini Road

http://www.endangeredaudioresearch.com/
http://www.biminiroadelectronics.com

"Here are a few clips of The Gristleizer working with some other modules. The Expert Sleepers FH-1 is acting as a bridge for my KMI QuNexus (off screen). The Disting mk3 is the oscillator, which is feeding into the L-1 Tube VCA, which itself is triggered by the gate from the FH-1 (I don't have an envelope module at the moment). The output of the VCA is then fed through the Gristleizer and sent through my Universal Audio Apollo, where a Cooper Time Cube provides the stereo delay. It is also running through the Neve 1073 Preamp plugin, the Studer A800, and the Ampex ATR-102.

0:00 - Output A of the Disting is multed using a Tiptop stackable cable to the Mod input of the Gristleizer in VCF mode. This means that the speed of the scanning Bandpass Filter within the Gristleizer is moving at the same rate as the pitch of the oscillator. Doing this, the Bias, Filter Mix, and Depth Controls all allow you to dial in amazing tones.

0:46 - This is the same setting as above, but the internal triangle wave of The Gristleizer is modulating now. I call this effect a phase ring mod. Although it does not use diodes in a ring configuration to achieve the ring mod effect, the effect of the scanning BPF creates another oscillating tone that, especially when dialed into the tonic or the dominant note of the scale you're using. In this case, I am dialing it in so that it crashes against the pitch of the Disting's oscillator, creating some truly growling tones.

1:46 - Here, I'm adjusting the drive of the VCA to create some feedback overtones in order to highlight the range that the Bias knob sweeps through. The Bias controls the center frequency that the Gristleizer sweeps through. Only with the Endangered Audio Research Gristleizer filter do you get this wide range - the original design was focused way down in the bass range which, for most instruments, was completely unusable. The redesigned filter is dirty enough to be at home within The Gristleizer, but is without a doubt much more musical. In this example, I have patched the Saw LFO output to the Mod input (breaking the normalized connection to the Triangle wave).

2:17 - This is The Gristleizer in VCA mode. Notice towards the end of this clip how much the Bias changes the tone of the input. The added Filter Mix control also doubles as a presence control in VCA mode. The Square LFO is patched into The Gristleizer's Mod input.

2:59 - Another example of the phase ring modulation effect."

Exploring The Gristleizer Eurorack Module - Part 2

Published on May 14, 2016 Bimini Road

http://www.endangeredaudioresearch.com
http://www.biminiroadelectronics.com

"Ableton Live is controlling the oscillator and the L-1 Tube VCA through the iConnectivity Box and the Expert Sleepers FH-1, and I'm scanning through different sounds and modes of The Gristleizer to show what a versatile tone box it is. Few modules can radically alter their input this much!"

TouellSkouarn // Skorn Da Bask // Short Demo

Published on May 12, 2016 Touell Skouarn

"Skorn Da Bask // Drone, Filter & Abstract Rythm Generator"

Meet The Makers - Urs Heckmann U-He

Published on May 12, 2016 sonicstate

"We talk to Urs Heckman from U-He.com about his journey into making software instruments and how development is progressing in DSP modeling"