Saturday, November 26, 2016
Island Hopping with MIDI Sprout
Published on Nov 26, 2016 MIDI Sprout
"Data Garden founder, Joe Patitucci, shares tips on keeping your MIDI Sprout in top shape along with an inside look at what he carries to allow him to make plant music in wherever he is in the world.
For more info on how to get the most out of your MIDI Sprout, visit our user forum at http://support.midisprout.com
Joe's Travel Kit
Moog Micromoog | Monophonic Analog Synthesizer
Published on Nov 26, 2016 Ralph Baumgartl
"We are taking a very quick look at the Moog Micromoog, which was introduced to the market in 1975. The Multimoog was derived from the Micromoog and was launched on the market in 1978. Both monophonic analog Synthesizers share a common manual which had the schematic drawings included. The Micromoog features one Voltage-controlled oscillator with variable waveshape, which can be infinitely adjusted from Saw to Square to Pulse. The LFO, Sample & Hold and Noise generator can also be used to modulate the waveshape, which allows for some fat sounds. This concept provides more sonic options than simple Pulse Width Modulation (PWM)."
Fat Bass Sound on Modular Synthesizer | Tutorial and How to
Published on Sep 2, 2016 Ralph Baumgartl
"Tutorial on how to patch a big fat Bass sound on a Modular Analog Synthesizer. I am demonstrating this patch on an ARP 2600, but the concept can also be applied to other hardware modular synthesizers and even to software modular synths running on either Mac, PC or iPad.
Gear used: Arturia KeyStep, ARP 2600, Strymon BigSky, Strymon Timeline, Zoom MS-70CDR, Boss BX-600"
Hicut Cake #026 :: Korg Minilogue jam
Published on Nov 26, 2016 hicutcake
"Ingredients:
– Korg Minilogue x 6"
minima in the woods
Published on Nov 26, 2016 Matthew Tyas
"An improvised performance using a Striso board as controller and an Axoloti as sound source and effects"
Some info on the The Striso as a stand alone instrument. You'll find some videos on their site.
"The Striso is an entirely new musical instrument. It is intuitive to play, has its own distinct and very versatile sound, and combines the possibilities of electronic with the experience of an acoustic instrument. It is small enough to easily take with you, and you can play everywhere you want.
The base of the Striso is a field of small yet powerful buttons that are sensitive in all directions. They let you control the subtle properties of the sound of each note independently. Additionally, you can add accents and sound effects by shaking and moving the Striso. Together this creates enormous possibilities for musical expression.
The intuitive and systematic arrangement of the buttons makes you comprehend musical patterns, as all intervals, chords and scales have the same shape in every key. This lets you play in all keys with the same ease. Read more about the note layout at DCompose note layout.
The Striso is designed to keep you connected with the music you’re playing, whether you want to play lively folk melodies, complex jazz progressions, diverse world music, experimental microtonal compositions or anything else."
Patch Notes #26 - Generative Eurorack Jam
Published on Nov 25, 2016 Voltage Control Lab
"Exploring a generative patch using the Ornament & Crime Turing Machine mode along with some slightly randomized drums from the Varigate and some smooth tones from the DPO and Clouds.
The Ornament & Crime is in Quantermain mode, generating a single Turing Machine on channel D, clocked by the Make Noise Tempi and Turing probability modulated by a channel on Analog Memory. Tempi is also clocking Brains and Pressure Points, one channel of the connect Analog Memory module is routed through channel 3 on Maths, and then into the Ornament & Crime CV4 input.
This is the crux of the generative voice. The slowly stepping Analog Memory switches the O&C 100% chance of a randomized value on one step, then around 5% chance on the next step, and 0% chance on the last two steps. This means every 4 bars or so, the phrase is randomized to a degree.
The generative sequence is routed to the Make Noise DPO, onto the MMG filter via the Final output and then to the Optomix. The signal is then passed through Mutable Instruments Clouds running the Parasites firmware in Oliverb mode (updated this easily via the SpektroAudio ALTRNT website), and on to the Malekko Mix4 and out. The Malekko Varigate 4 is triggering an envelope on the AD/LFO, which is opening the Optomix.
Clouds is being heavily modulated. A sine wave LFO from the TipTop Audio Z3000 is modulating the decay time control, while the triangle wave is modulating the pre-delay. The right output from Clouds is fed back into the Z3000 waveshaper input and the sine wave out from the DPO modulation oscillator is routed to the FM input as well, further complicating sine and triangle waves. The stepped and smooth random outputs from the Make Noise Wogglebug are also modulating Clouds reverb size and damping filter respectively.
Tempi is clocking and resetting the Varigate which is already triggering the generative voice. In addition, one channel is triggering the Noise Engineering Basimilus Iteritas which is acting as the snare. The BI is then passed through Mutable Instruments Warps in Parasites firmware delay mode, and out to the Mix4.
The kick and hihat are both sequenced on the Varigate as well, triggering the Roland Scooper via a few envelopes on the ADLFO.
The bass is sequenced via the DU-SEQ (clocked by Tempi), which is playing Mutable Instruments Braids. A looping envelope on the Intellijel Dual ADSR is modulating the Braids color input, giving some motion to the bass tone.
https://www.voltagecontrollab.com/"
Teenage Engineering OP-1 : Taking a look at the new update
Published on Nov 26, 2016 Accurate Beats
"Teenage Engineering just released the new OS update for the OP-1 that includes a new synth, a new sequencer mode, new presets and more.
This is just a first look at the update and some of my thoughts on it."
And an overall tutorial from Cuckoo:
OP-1 Tutorial by Cuckoo (2016 new firmware update)
Published on Nov 25, 2016 cuckoomusic
"Hello. Here's an allround tutorial for the OP-1 from Teenage Engineering. I'm trying to go through as many functions as possible, and also get a sort of understanding for the overall workflow. Also present in the video is the new functionality introduced in the 2016 fir"
Friday, November 25, 2016
RIP Jean-Claude Risset
Shepard-Risset Glissando
Jean-Claude Risset, a pioneer of electronic music, passed away on November 21. Many of you will recognize his Risset Tones, or Shepard Tones above as they were based on the work of Roger Shepard as referenced in this post: "Risset Tones (Risset tones are based on the work of Roger Shepard in the 1960's and the further developments made later by Jean-Claude Risset, RissetTones is designed to create an acoustical illusion. Perhaps best explained as the aural equivalent of the barber pole, the product of the RissetTones is a gliding tone which seems always to be moving either up or down in pitch while staying in the same general position.)"
He, of course, was known for quite a bit more:
The image to the left is from forestpunk on Music From Computer: "an exquisite repackaging of influential works from early computer music Jean-Claude Risset, spanning the years 1968 – 1985. It illuminates a fascinating intersection between old-world classicism, musique concrete, and synthesis."
Wikipedia has the following:
"Risset was born in Le Puy-en-Velay, France. Arriving at Bell Labs, New Jersey in 1964, he used Max Mathews' MUSIC IV software to digitally recreate the sounds of brass instruments. He made digital recordings of trumpets and studied their timbral composition using 'pitch-synchronous' spectrum analysis tools, revealing that the amplitude and frequency of the harmonics (more correctly, partials) of these instruments would differ depending on frequency, duration and amplitude. He is also credited with performing the first experiments on a range of synthesis techniques including FM Synthesis and waveshaping."
Below are two additional compositions by Jean-Claude Risset. His work and influence go beyond anything that can be captured in a single post. His influence can be seen in various posts here on MATRIXSYNTH. This post, as all posts, is here only to let you know he was a significant influence on our world. Be sure to see the full wikipedia and forestpunk articles above and of course, always research more on your own. There is an incredible world of work to explore out there.
Jean-Claude Risset - Computer Suite From Little Boy (1968)
Published on Jul 9, 2012 Sebastian H. M. Murdock
"Composer Jean-Claude Risset was a pioneer in the field of computer music and recipient of a great many honors for this music and research (especially in the area of sound synthesis). After studying the sciences, in addition to composition and piano with teachers like André Jolivet (Le Jeune France co-founder), Risset went on to work at Bell Labs, with Max Matthews, for a few years in the late '60s, working on applications that would imitate instruments and others sounds. He brought sound synthesis to Orsay in the early '70s, and Marseille and Paris -- to the Institute for Acoustic Music Research and Creation, with Pierre Boulez -- in the mid-'70s. He became IRCAM's computer music director from 1975-1979, after which he served as Director of Research at facilities including CNRS; Risset received the CNRS Bronze Medal in 1971, the Silver Medal in 1987, and the Gold Medal in 1999, for his work and related writings, such as his computerized sound synthesis catalogue of 1969. His other awards include the Dartmouth Prize (1970), first place in the Bourges Digital Music competition (1980), Ars Electronica Austria (1987), Grand Prix National de la Musique (1990), Musica Nova Prague (1995), and an Honorary Doctorate of Music by the University of Edinburgh in the mid-'90s. His best work spans decades and includes 'Sud' (1985), 'Aventure de lignes, Profiles' (1981), 'Mirages' (1978), 'Inharmonique' (1977), 'Musique pour Little Boy' (1968), and 'Fantasie pour Orchestre' (1963)."
Jean-Claude Risset - Invisible (1)
Published on Jul 16, 2015
Jean-Claude Risset, a pioneer of electronic music, passed away on November 21. Many of you will recognize his Risset Tones, or Shepard Tones above as they were based on the work of Roger Shepard as referenced in this post: "Risset Tones (Risset tones are based on the work of Roger Shepard in the 1960's and the further developments made later by Jean-Claude Risset, RissetTones is designed to create an acoustical illusion. Perhaps best explained as the aural equivalent of the barber pole, the product of the RissetTones is a gliding tone which seems always to be moving either up or down in pitch while staying in the same general position.)"
He, of course, was known for quite a bit more:
Wikipedia has the following:
"Risset was born in Le Puy-en-Velay, France. Arriving at Bell Labs, New Jersey in 1964, he used Max Mathews' MUSIC IV software to digitally recreate the sounds of brass instruments. He made digital recordings of trumpets and studied their timbral composition using 'pitch-synchronous' spectrum analysis tools, revealing that the amplitude and frequency of the harmonics (more correctly, partials) of these instruments would differ depending on frequency, duration and amplitude. He is also credited with performing the first experiments on a range of synthesis techniques including FM Synthesis and waveshaping."
Below are two additional compositions by Jean-Claude Risset. His work and influence go beyond anything that can be captured in a single post. His influence can be seen in various posts here on MATRIXSYNTH. This post, as all posts, is here only to let you know he was a significant influence on our world. Be sure to see the full wikipedia and forestpunk articles above and of course, always research more on your own. There is an incredible world of work to explore out there.
Jean-Claude Risset - Computer Suite From Little Boy (1968)
Published on Jul 9, 2012 Sebastian H. M. Murdock
"Composer Jean-Claude Risset was a pioneer in the field of computer music and recipient of a great many honors for this music and research (especially in the area of sound synthesis). After studying the sciences, in addition to composition and piano with teachers like André Jolivet (Le Jeune France co-founder), Risset went on to work at Bell Labs, with Max Matthews, for a few years in the late '60s, working on applications that would imitate instruments and others sounds. He brought sound synthesis to Orsay in the early '70s, and Marseille and Paris -- to the Institute for Acoustic Music Research and Creation, with Pierre Boulez -- in the mid-'70s. He became IRCAM's computer music director from 1975-1979, after which he served as Director of Research at facilities including CNRS; Risset received the CNRS Bronze Medal in 1971, the Silver Medal in 1987, and the Gold Medal in 1999, for his work and related writings, such as his computerized sound synthesis catalogue of 1969. His other awards include the Dartmouth Prize (1970), first place in the Bourges Digital Music competition (1980), Ars Electronica Austria (1987), Grand Prix National de la Musique (1990), Musica Nova Prague (1995), and an Honorary Doctorate of Music by the University of Edinburgh in the mid-'90s. His best work spans decades and includes 'Sud' (1985), 'Aventure de lignes, Profiles' (1981), 'Mirages' (1978), 'Inharmonique' (1977), 'Musique pour Little Boy' (1968), and 'Fantasie pour Orchestre' (1963)."
Jean-Claude Risset - Invisible (1)
Published on Jul 16, 2015
RIP Pauline Oliveros
Pauline Oliveros: Bye bye butterfly (1967)
Uploaded on Mar 24, 2011 TheWelleszCompany
PAULINE OLIVEROS | REVERBERATIONS: ELECTRONIC & TAPE MUSIC 1961 - 1970 12CD BOX SET TRAILER
Published on Apr 16, 2012 importantrecords
"Pauline Oliveros, composer, performer and humanitarian is an important pioneer in American Music. Acclaimed internationally, for four decades she has explored sound -- forging new ground for herself and others. Through improvisation, electronic music, ritual, teaching and meditation she has created a body of work with such breadth of vision that it profoundly effects those who experience it and eludes many who try to write about it.
'On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level.'
John Rockwell"
We lost another pioneer of electronic music and the world of synthesizers today.
In via @moogmusicinc:
"2016, the year we lost our heroes. RIP #PaulineOliveros, the mother of #deeplistening."
via wikipedia:
"Pauline Oliveros (May 30, 1932 – November 25, 2016) was an American composer and accordionist who was a central figure in the development of experimental and post-war electronic art music.
She was a founding member of the San Francisco Tape Music Center in the 1960s, and served as its director. She has taught music at Mills College, the University of California, San Diego (UCSD), Oberlin Conservatory of Music, and Rensselaer Polytechnic Institute. Oliveros has written books, formulated new music theories and investigated new ways to focus attention on music including her concepts of "Deep Listening" and "sonic awareness".[1] She was an Eyebeam resident."
You will find Pauline Oliveros referenced throughout numerous posts here on MATRIXSYNTH. Her groundbreaking "Reverberations: Tape + Electronic Music 1961-1970" was funded on Kickstarter in 2014, and made available by Important Records. She presented her work at The Kitchen in New York, and she provided input to the San Francisco Tape Music Center during the days of Don Buchla.
The difference between hearing and listening | Pauline Oliveros | TEDxIndianapolis
Published on Nov 12, 2015 TEDx Talks
Pauline Oliveros Lecture (Montréal 2016) | Red Bull Music Academy
Published on Nov 22, 2016 Red Bull Music Academy
"Composer, author and educator Pauline Oliveros has dedicated her life to sound and to listening. One of electronic music’s most important early figures, she was an original member of the pioneering San Francisco Tape Music Center and its first director. A founder of the Deep Listening Institute, she now conveys the message that sound and its effects are powerful equalizers. Her works are meditations on the ocean of sound that listeners can find themselves in, embracing the rapture of audible sensation. A recipient of many awards and a participant in the 2014 Whitney Biennial, her engagement with sound continues to influence generations. Sitting on the couch at the 2016 Red Bull Music Academy, Oliveros recalled how she created her own instruments and how listening can help change how you hear.
TOPICS:
9:29 - Origins of the San Francisco Tape Music Center
17:52 - Building instruments
37:47 - Expanded Instrument System and delays
41:08 - Deep Listening
52:19 - Using every sound you hear
1:19:36 - Deep Listening and engineers
MUSIC:
12:43 - Pauline Oliveros – “Time Perspectives” https://www.youtube.com/watch?v=amU2M...
20:17 - Pauline Oliveros – “Bye Bye Butterfly” https://www.youtube.com/watch?v=8wrNL...
27:52 - Pauline Oliveros – “I of IV” https://www.youtube.com/watch?v=MLSFR...
34:05 - Pauline Oliveros – Tuning Meditation live at The Kitchen NYC
40:24 - Pauline Oliveors, Stuart Dempster, Panaiotis – “Lear” https://www.youtube.com/watch?v=0at5D..."
Uploaded on Mar 24, 2011 TheWelleszCompany
PAULINE OLIVEROS | REVERBERATIONS: ELECTRONIC & TAPE MUSIC 1961 - 1970 12CD BOX SET TRAILER
Published on Apr 16, 2012 importantrecords
"Pauline Oliveros, composer, performer and humanitarian is an important pioneer in American Music. Acclaimed internationally, for four decades she has explored sound -- forging new ground for herself and others. Through improvisation, electronic music, ritual, teaching and meditation she has created a body of work with such breadth of vision that it profoundly effects those who experience it and eludes many who try to write about it.
'On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level.'
John Rockwell"
We lost another pioneer of electronic music and the world of synthesizers today.
In via @moogmusicinc:
"2016, the year we lost our heroes. RIP #PaulineOliveros, the mother of #deeplistening."
via wikipedia:
"Pauline Oliveros (May 30, 1932 – November 25, 2016) was an American composer and accordionist who was a central figure in the development of experimental and post-war electronic art music.
She was a founding member of the San Francisco Tape Music Center in the 1960s, and served as its director. She has taught music at Mills College, the University of California, San Diego (UCSD), Oberlin Conservatory of Music, and Rensselaer Polytechnic Institute. Oliveros has written books, formulated new music theories and investigated new ways to focus attention on music including her concepts of "Deep Listening" and "sonic awareness".[1] She was an Eyebeam resident."
You will find Pauline Oliveros referenced throughout numerous posts here on MATRIXSYNTH. Her groundbreaking "Reverberations: Tape + Electronic Music 1961-1970" was funded on Kickstarter in 2014, and made available by Important Records. She presented her work at The Kitchen in New York, and she provided input to the San Francisco Tape Music Center during the days of Don Buchla.
The difference between hearing and listening | Pauline Oliveros | TEDxIndianapolis
Published on Nov 12, 2015 TEDx Talks
Pauline Oliveros Lecture (Montréal 2016) | Red Bull Music Academy
Published on Nov 22, 2016 Red Bull Music Academy
"Composer, author and educator Pauline Oliveros has dedicated her life to sound and to listening. One of electronic music’s most important early figures, she was an original member of the pioneering San Francisco Tape Music Center and its first director. A founder of the Deep Listening Institute, she now conveys the message that sound and its effects are powerful equalizers. Her works are meditations on the ocean of sound that listeners can find themselves in, embracing the rapture of audible sensation. A recipient of many awards and a participant in the 2014 Whitney Biennial, her engagement with sound continues to influence generations. Sitting on the couch at the 2016 Red Bull Music Academy, Oliveros recalled how she created her own instruments and how listening can help change how you hear.
TOPICS:
9:29 - Origins of the San Francisco Tape Music Center
17:52 - Building instruments
37:47 - Expanded Instrument System and delays
41:08 - Deep Listening
52:19 - Using every sound you hear
1:19:36 - Deep Listening and engineers
MUSIC:
12:43 - Pauline Oliveros – “Time Perspectives” https://www.youtube.com/watch?v=amU2M...
20:17 - Pauline Oliveros – “Bye Bye Butterfly” https://www.youtube.com/watch?v=8wrNL...
27:52 - Pauline Oliveros – “I of IV” https://www.youtube.com/watch?v=MLSFR...
34:05 - Pauline Oliveros – Tuning Meditation live at The Kitchen NYC
40:24 - Pauline Oliveors, Stuart Dempster, Panaiotis – “Lear” https://www.youtube.com/watch?v=0at5D..."
Toronto Sound Festival 2016
Published on Nov 22, 2016 Toronto Sound Festival TSF
This one in via Randy Piscione. Above is a playlist featuring performances at the of the Toronto Sound Festival 2016. The last video in the playlist features a collection of images from the event.
Playlist:
Paul HD
Joe
Jacob
Hexinverter Filter HD
Heidi
Eric Lunch
Canadian Electronic Ensemble
Android Dreams
Steve And Dave Sideways
Steve And Dave Right Way 'Round
Toronto Sound Festival 2016 slides YT
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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
