Sonicware Ambient Ø Sample Manipulation Experiement - Speak Clearly....

video upload by ChrisLody

"I had a an hour or so free time this afternoon to do something experimental, messing with the Ambient 0's Noise layer for the purposes of sample manipulation.

I found the tape deck shown, a Genexxa CTR-96, in a charity shop recently and bought it immediately as it had a tape inside. That's always in 'insta-buy' scenario for me and it paid off. On the tape is the phrase you hear, 'You should speak clearly to get the best recognition accuracy, full stop'. The lady repeats this 3 time on the 3 getting slower and sounding more frustrated. There seem to be children making noise in the background so my best guess is she was a teacher and was trying out some 90s speech to text which wasn't working well (it didn't back then), but I'm not sure. The rest of the tape is full of unintelligible voices of children in the presumed classroom. The tape deck has multiple playback speeds so I used High in order to be able to record the whole phrase in the sample time allowed on the Amb0, then pitched it back down afterwards.

So that's sampled into the Amb0 and then I use it's LFOs to mostly control pitch. In hindsight I should have also routed the level and cutoff, maybe in the future. It can do some interesting things with the stepped LFO shapes to pitch as they contain sections that stop moving so the speech is still recognisable. Also the reverse delay is very good for glitching things as you can hear at the end."

‪@ChaseBlissAudio‬ mood on Vintage Yamaha CS01, Vintage Hardware on modern pedal

video upload by Electric Vibes

Future Sound Systems Cric Patch Journal: Two Voice Paraphony

video upload by Matt Lowery

"With freshly tie-dyed hands, I demonstrate and explain a Cric patch that has been on my desk for almost two weeks. We'll use Rene 2 to sequence two channels of Cric, send the resulting audio through the Vongon Polyphase, and create a big granular cloud to sit behind that whole situation. It'll be fun, you'll see.

00:00 Cheeseball Intro
00:17 Cric Settings
03:07 Sequencing Strategy
06:40 Granular Cloud
08:50 Skip Here If You Just Want Cric Sounds"

Register ®️ (0-Coast + Timeline // Perfourmer + H90 // TR-6S // Nymphes // Squarp sequencer)

video upload by 2-Minute Warning

"I really wanted to make use of a lot of MIDI effects of the Hapax hardware sequencer in this jam! 😃
So nearly all of the sequences you'll here coming from the 0-Coast, Perfourmer and Nymphes, have been recorded with very few notes.
The rhythmic and chords richness are mainly coming from the onboard MIDI effects. Thus:

🎸 BASS (0-Coast):
The track starts with the 0-Coast playing a simple pattern, which gets a bit more complex when I add more PULSES on the EUCLID effect of the Hapax. There's also a RANDOM MIDI effect on this track which from time to time, transposes some notes to 1 or 2 octaves.

🎶 ARP (Perfourmer):
The Perfourmer then gets introduced progressively, sequenced by Track 2 of the Hapax where actually, no notes where recorded! Every note you are hearing are being generated in real-time by the REGISTER MIDI effect. I also used the SCALER effect for the generated notes not to go out of scale 😉

🎹 CHORD STABS (Nymphes):
I used the RANDOM + HARMO + SCALER MIDI effects here to transform the single notes recorded to the cool CHORD STABS!

🥁 DRUMS (TR-6S):
The drum parts are played by the TR-6S using only the Analog Circuit Behavior engine (i.e. no samples used) for the drum sounds. I didn't use the TR-6S' sequencer here but the Hapax, in order to be able to swap between different patterns on only one machine (Hapax)."

Teenage Engineering OP-XY: Distorted Electro-Rock ⚡Live Jam in Overdrive

video upload by Lo-fi Pask

"A moment of deceptive calm. Lately, inspiration has been playing hard to get, yet the need to express myself is stronger than ever. So, I dug into some old projects—and this track was the very first one I crafted with the Teenage Engineering OP-XY. Though, in its original form, it was something entirely different. I called it "Apparent Calm".

To capture my current state of mind, I decided to push things a little further, adding a touch of distortion with the TC Electronic Dark Matter pedal effect. Thanks to OP-XY’s versatility, I could shape it exactly the way I wanted, applying it only where it felt right.

That distortion effect gives the track a more rock, alternative edge—just the way I like it. It adds grit, raw energy, and a certain unpredictability that makes the whole piece feel alive.

As always, this is a live jam, recorded in one take, so expect a few spontaneous twists and turns. I took my time, played it smooth, and tried to avoid mistakes (though, let’s be real, some made it in anyway).

If you love electronic (but also rock) music, experimental sound design, and live performance, this one’s for you. Hope you enjoy the ride! 🚀🎶

🎧 Best experienced with headphones.

Gear Used:
Teenage Engineering OP-XY (Both factory presets and personal ones)
TC Electronic Dark Matter (Distorsion)
Teenage Engineering TX-6 (used for recording)"

Moog Muse Oscillator Sync

video upload by Fractured Audio

"A quick video on how Oscillator Sync works on the Moog Muse with examples of modulating the effect from and envelope and LFO with a slew function."

Processional (soundscape) for VCS3, Arp 2600, Gongs and Percussion

video upload by R. Reger

"Alvin The Unique" Custom ARP Avatar

Note: Auction links are affiliate links for which the site may be compensated.

via this Reverb listing

Note the listing has ended. Saving the pics and details for posterity.

"This is an ARP Avatar that has been modified. The plaque mounted on the console says 'Alvin the Unique, Custom Built for George Choksy by Jim Chandler of Chattanooga--1982'. The estate we purchased it from was the Choksy estate.

We have ran signal through the synth and were able to get various sounds from it. It does need some cleaning and some care. We weren't able to fully test all functions, due to us simply not knowing exactly what to test for. But it does produce signal and the guitar did trigger various effects.

The modules that are outlined in blue are the modifications. I've included pictures of the inside of the console to show the quality of the modifications. We did not pass signal through any of these modules, as they appear to need to be patched together like a traditional synth.

This item includes the original owner's manual, five(5) ARP foot pedals, an AC cable, and the flight case. The hex pickup is not included.

The flight case does have a smoky odor to it. The sliders on the synth are all functional, but most are missing the grip. One of the sliders, the HPF Cutoff Frequency, is broken off flush to the top of the console. It does, however, still slide and function."

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The World's First Programmable Synthesizer and its Pulitzer Prize Winning Music

video upload by ITSPmagazine

"This synthesizer is the world's first programmable music synthesizer. The first piece of electronic music to win the Pulitzer Prize was made on it.

basically a two voice synthesizer with tone generation and composing in the left hand side and processing on the right hand side, including manual binary for the, uh, ordering of the effects processes. Um, which for its time, uh, essentially like a uh, touring computer. Um, uh, was it You know, one and a half tons, seven feet tall, 14 feet wide, it's quite a behemoth, but now it's a very large paperweight.

Watch the full video:" [The above comes in at 22:41 - vintage Buchla, Serge & more follow. See this post for the red Buchla LSD module]

How Technology is Changing the Way We Make Music | A Conversation with Seth Cluett

video upload by ITSPmagazine

"Guest: Seth Cluett, Director of Columbia University’s Computer Music Center | On LinkedIn: / seth-cluett-7631065 | Columbia University Computer Music Center Bio: https://cmc.music.columbia.edu/bios/s...

Host: Sean Martin, Co-Founder at ITSPmagazine and Host of Redefining CyberSecurity Podcast & Music Evolves Podcast | Website: https://www.seanmartin.com/

Show Notes

Music and technology have always shaped each other, and few places embody that relationship as deeply as the Computer Music Center (CMC) at Columbia University. In this episode of Music Evolves, Sean Martin sits down with Seth Cluett, Director of the Computer Music Center and Assistant Director of the Sound Art MFA program at Columbia, to explore the center’s rich history, its role in advancing music technology, and how it continues to shape the future of sound.

The Legacy and Mission of the Computer Music Center

The CMC is housed in the same 6,000-square-foot space as the original Columbia-Princeton Electronic Music Center, which dates back to 1951 and is one of the world’s oldest university-based electronic music research facilities. This was the birthplace of early electronic music, where pioneers learned to use cutting-edge technology to create new sounds. Many of those musicians went on to establish their own studios around the world, from Egypt to Japan.

The center has played a role in major milestones in music history, including the work of Wendy Carlos, a former student known for Switched-On Bach, the score for Tron, and The Shining. The first piece of electronic music to win a Pulitzer Prize was also composed here. Today, under Cluett’s leadership, the focus remains on creativity-driven technological innovation—allowing composers and artists to explore technology freely and push the boundaries of what’s possible in sound and music.

One of the center’s guiding principles is accessibility. Cluett emphasizes the importance of lowering barriers to entry for students who may not have had prior access to music technology. The goal is to make sure that anyone, regardless of background, can walk into the studio and begin working with 80% of its capabilities within the first 20 minutes.

Exploring the Labs and Studios

The episode also includes a tour of the labs and studios, showcasing some of the center’s groundbreaking equipment. One highlight is the RCA Mark II Synthesizer, the world’s first programmable music synthesizer. Built in the late 1950s, this massive machine—seven feet tall and weighing over a ton—was instrumental in shaping the sound of early electronic music. The system worked by punching holes into paper to control sound generation, similar to a player piano. While no longer in use, the CMC has collaborated with iZotope to model some of its effects digitally.

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Signal Sounds covered the Severance theme on synthesisers

video upload by Signal Sounds

"Our take on the iconic Severance theme tune, shot in our Glasgow showroom. Praise Gear!"

https://www.signalsounds.com/