"Synthesis synthesizer magazine. Volume One, Issue One, 1970, Ultra Rare. Approximately 37 pages cover to cover. Includes section on the Arp 2500 Voltage Controlled Oscillator. Synthesizer magazine history from the golden age of electronic music synthesizers. Some writing, not much."
"Introducing the wonderfully quirky CRB Computer Band 2000 - a mainly analog auto accompaniment machine from the early 80s with four sections:
1.Drums with individually mutable sounds
2.Bass section with three sounds and two modes
3.Two chord sections with a total of seven sounds, decay and volume controls.
4. And an arpeggiator with four different sounds and decay control.
These sections were originally made for big home-organs, they're incorporated into the CRB 910 organs and a few Solton branded ones as well.
The stand-alone units are quite rare.
The CRB Oberon is a two oscillator monster synth from roughly the same era, it has some interesting features and is probably the most complicated Italian mono synths out there."
"The boy and the dolphin is a spontaneous electronic duo: Orestis Zafeiriou and Giuliano Anzani. They met in The Netherlands and they find themselves living and working in Athens. They patched their synthesizers and forces exploring oceans of sounds.
as the ocean has storms, we have noise \
as the ocean has waves, we have melodies \
as the dolphin emerges from the water \
we hear drones.
This set is the result of several improvisations operating Dreadbox machines. Both Giuliano and Orestes are part of the Dreadbox team :)"
"I'm taking the opportunity during Jamuary2022 to use more exotic stuff you may not see on the regular modular videos. Today it's time to fool around with the Tasty Chips GR-1 granular synthesizer. It's usually in a closet next to the ARP2600, Lyra-8 and Pulsar-23 because I don't have space in my homestudio but hopefully this will change this year when the lab gets a real studio. Wow, I made 24 days - and again I have no idea what to do tomorrow."
"This is a new kind of upload to my channel, because there is no video, just sound. I found some old audio clips in the hard drive. After listening again to them, I thought they could be worth a listen.
"I've already looked at the Setonix Synth Marsupial. Really liked it, and was accordingly quick to order the Macropod when it became available. At about the same time I got ahold of an Ikarie from Bastl.
Between the three of them, I have a hard time choosing a favorite, and all are definitely keepers.
This is a short comparison to get a feel for their respective sounds. I'm not spending a lot of time on the Marsupial since I already covered it (see link in description/above), but do want it here so I can have a clear ear on how it differs from Macropod.
Source VCO is a Dannysound Cali Osc. Envelope from Zadar. Sequence from
Stochastic IG. And a touch of Valhalla reverb at the end.
"So you have 8hp available, and want to fill it with a filter. Here are some options. They aren't all the options, there are many, many more. But a few new 8hp filters have arrived recently (the XAOC, CCTV, and SetonixSynth), so it seemed like a good time to compare them with some other 8hp filters I have close at hand. For the most part I'll be listening to low pass outputs only.
Source audio is an Intellijel Dixie II+, with a mix of several waves. Envelope is from Zadar. Sequence from Stochastic SIG. A touch of Halls of Vallhalla reverb at the end.
If you don't already consider the Polyend Tracker a hi-tech 'toy', then how about playing NINTENDO GAMES on it?!? I think that qualifies it as a pretty serious toy! Hahaha
I loaded up the classic NES game, 'Gauntlet' and sampled the soundtrack into the Dirtywave M8
tracker. Then I chopped out a ton of bits from the soundtrack, programmed some drums with one-shots, added some chord stabs from the built in synths - and created this new, fun, silly soundtrack for the game - all inside of the M8.
I also sampled some vocal samples from the ORIGINAL arcade version of Gauntlet to add more character to the track."
"'Starfield Bound' - was recorded live early Sunday morning on January 16, 2022 using a MIDI sequencer, 4 mixers, outboard compressors and a room full of synthesizers. This music originated from a shorter music sequence that later evolved to what is here now. For several weeks I considered breaking it up into 2 separate pieces sharing the same theme and later left decided to keep it as is. I'm still not sure it was a good idea to keep it as one.
The MPC X was used to compose and arrange all the MIDI data and control all the synths during recording. Most of the modulations were made with note velocities. Many parts were controlled with continuous controller messages. This is my second piece of music composed on the Akai MPC X and despite the complexity of all the automation and modulations, working with it at this level was very easy and comfortable. Much more so than the Yamaha RS-7000.
The Oberheim Matrix 1000 and Korg Minilogue XD provided the primary sonic textures for Startfield Bound - aided by the wonderful percussion textures of the Boss DR-660. A custom kit was mapped meticulously so accomodate layering of sounds using the pitch, decay and nuance parameters. All 4 outputs were used and careful consideration on routing the sounds to each of the 4 channels on the Soundcraft GB4.
The Roland JX-08 and ASM Hydrasynth were added late in the development of the music. I am really impressed with the sound of both, especially the JX-08.
During the summer of '21 a pair of new mixers were added to the room. The Soundcraft GB4 and a Allen & Heath MixWizard WZ3 replaced my aging Mackie 1604 VLZ3 which had nothing technically wrong with it, but it drove me crazy there were no eq disable switches on the channels.
Why two mixers? I would have preferred a single larger frame (24 or 32 channel) console but I don't have the physical space for it. Two smaller mixers works out great better for the room.
