"32MB sample ram, new internal ZuluSCSI (use modern SD cards!), Video i/o Option, the very hard to source original Roland MX Mouse, original manuals and I am including a new monitor with everything needed to utilize the 760's s-video out for editing and controlling the sampler with the mouse. A must have combo for this and other Roland samplers of this era."
Interesting that the mouse has a serial number too: H80202.
"This Yamaha VL1Virtual Acoustic Synthesizer from the 1990s is a one-of-a-kind piece of equipment for any musician or producer. This keyboard synthesizer features two mouth controllers for added versatility and expression in your performances. Made in Japan, this digital synthesizer has a unique sound that sets it apart from other synthesizers.
INCLUDED:
Yamaha VL1 with original manual, 2 Midi Breath Controllers, several extra mouthpieces. Kept in safe storage by original owner, a classical composer for ballet."
"People Are Oblivious To Reality. They Only See What They Want To See
(Henry Simpleton, 1899)
Landscape FM Stereo Field sampled on EP–133 K.O. II track A;
Modern Audio Pluto sampled on EP–133 K.O. II tracks B and D;
Soma Lyra-8 sampled on Op-1 Field."
"Here the EP-133 meets his little buddy PO32 Tonic for jamming out. All drums coming from the K.O.II while the pad sounds are coming from live jamming with the PO32 (spiced up with a lot of reverb obviously, here going into #cascadeapp and #rymdigare and a touch of guitar amp feeling with #ChowDSPBYOD). Enjoy!"
"In this video, we'll try to emulate the Korg Mini Pops sounds and pattern that Jean Michel Jarre might have used in his iconic Oxygene pt. 4. The video is super blurry so we added some onscreen patch notes. Let us know if we shall continue this silly journey!"
00:00 Introduction
03:10 Hi-hats
04:23 Kick drum
07:12 Snare
11:19 Open hi-hat
13:57 Rim shot
15:02 Quijada
"This video is the first in a new series in which we get Gliss in the hands of artists we deeply respect. It is our great pleasure to open this series with Barker, a Berlin-based electronic musician and DJ working on the outer limits of dance music.
Since 2018’s Debiasing, Sam Barker’s influence has helped steer the direction of contemporary electronic music. Despite his being musically active for many years previous, notably in the duo Barker & Baumecker, his recent solo work has managed to shape a zeitgeist offsetting bittersweet longing with hyper-articulated, post-human body movements.
His releases for Ostgut Ton (particularly 2019‘s Utility), and most recently, Smalltown Supersound manage to straddle a line between the high-tensile, pump-action flex afforded by modern rhythmic and timbral programming techniques, with a nigh-on pop-level keenness for lilting, heart-string-tugging chord progressions. It’s this balance, combined with a microbial focus on all things-music composition (from developing solenoid-powered percussion devices to self-playing pianos) that’s made Barker an artist to love for new initiates and production nerds alike.
With Bela’s Gliss, Barker has found a powerful new tool for shaping melodies, chord progressions and timbres in his modular system. In this video he uses a pair of Gliss modules to record gestures that alter the melodic contours of the patch, and offset the root note of the chord, creating one of his signature, soaring progressions with tactile touch control.
Gliss is capable of much more than recording gestures and real-time parameter control. To learn more about its extensive and intuitive capabilities, visit bela.io.
"At long last IDUM is back! IDUM is our multi-effect processor for gates, allowing anything from a little variation to absolute insanity. Here is a little jam showing off using IDUM's new features - split mode and the improved looper.
We have a two IDUM system here with one controlling the VPME quad drum and a second controlling a set of SSF percussion modules as well as a voice made with the Schlappi Engineering Three Body and Boundary. We are also controlling our Tree/ Leaves combo module which is doing the main sequencing duties. The entire patch is mixed using our 3DVCA modules and our upcoming Ana v2 modules are acting as a macro controller, allowing us to change the whole patch with just four knobs. The main sequencer is the amazing Westlicht Performer.
In this jam I am focusing on showing how much variation you can get out of IDUM without changing the source sequence at all. This means that the same trigger sequence is driving IDUM the entire time and the note sequencer is not changed at all either, all of the variation you hear is either from manipulating IDUM or from changing some of the timbre settings of the drums.
If you would like to learn more about IDUM go to our website here:
"IDUM is a gate processing effect that turns its input effortlessly into IDM. Making complex electronic music with the modular usually requires meticulous sequencing done in advance or a large ecosystem of modules. Unfortunately, the level of expertise needed to accomplish this is not accessible to the average modular user. IDUM aims to make this process easier and put Intelligent Dance Music, also known as IDM, into the hands of people with average intelligence. IDUM does not require much knowledge to get immediate and compelling results; but with some extra familiarity, this module can enable innovative music making techniques. Instead of generating musical patterns on its own, IDUM acts like an effects processor for the sequences that run through it. For example, a filter or a delay allows the user to alter their sound by twisting the knobs or modulating the parameters. Similarly, IDUM manipulates the actual gates and sequences of connected modules, but with a level of playability normally inaccessible to a sequencer. IDUM can vary carefully crafted sequences or turn your music into an onslaught of controlled chaos. Its open source code and hardware based on the beginner friendly Arduino Nano Every encourage users to tweak their modules to taste or to add new features all while ensuring future improvements as IDUM makes its way into the wild."
"Really just scraping the surface of some of the things this intriguing oscillator can deliver by way of an initial demo. There will be others later I imagine.
To be clear, this is just the module on its own, recorded direct to camera. The FX aid is just being used as a convenient master level control. No external effect is in use.
Essentially this is a wavetable oscillator combined with a modal resonator and a decent reverb. But that doesn't really do justice to the world of sounds you can get out of it. This isn't a first run out. I've had it for about a week now and it's taken time to get to grips with its interface and some of its more obvious quirks.
The big knob is a kind of macro controller. You can set which parameters it will control and their depth/range. It's doing fairly subtle things here, modulating 3 different parameters simultaneously. I'm also using the dedicated pots at the same time.
The wavetable in use is not the factory standard one. Wavetables are in the familiar, open source format supported by WaveEdit app. They are easily swapped using an online app at the makers website via a USB C connector on the back of the circuit board. Keen eyes will notice I've got a cable installed as standard which saves time taking the module out of the rack just to update it and also reduces stress on the USB connector.
It's not an oscillator for everyone. But I think its a keeper for me."
